Quotes about tell

page 67

Source: Autobiography of a Brown Buffalo (1972), p. 100.
Context: Since I was about ten years younger than this crew of alcoholics, I just listened and filled their cups with cheap wine. After they’d had enough, I’d tell them of my escapades in Riverbank and in Panama where I’d worked with the Southern Baptist Convention and Jesus Christ to save the black souls of niggers, spics and Indians. I used to keep my eye on Harris when I told my stories. He had this nasty habit of pulling out a little notebook in the middle of a conversation and jotting down, as he said, “story ideas.” Later on, after I’d transferred to S. F. State and taken his writing course, he asked me if I wanted to read his first draft of Wake Up, Stupid! I kept it for a week and returned it to him at the next short story seminar. I only read the first paragraph. After that, I was no longer afraid of the intellectuals. I knew I could tell a better story.

Black Boy (1945)

"Labrador" · Video (a shot for shot recreation of scenarios from her first hit video with 'Til Tuesday, "Voices Carry") https://www.youtube.com/watch?v=XA1cX-wgMdM
Song lyrics, Charmer (2012)
Context: You lie so well
I could never even tell
what were facts in your artful rearranging But I came back for more
and you laughed in my face and you rubbed it in
cause I’m a Labrador
and I run
when the gun
drops the dove again

Source: The Thing (1929), Ch. IV : The Drift From Domesticity
Context: In the matter of reforming things, as distinct from deforming them, there is one plain and simple principle; a principle which will probably be called a paradox. There exists in such a case a certain institution or law; let us say, for the sake of simplicity, a fence or gate erected across a road. The more modern type of reformer goes gaily up to it and says, "I don't see the use of this; let us clear it away." To which the more intelligent type of reformer will do well to answer: "If you don't see the use of it, I certainly won't let you clear it away. Go away and think. Then, when you can come back and tell me that you do see the use of it, I may allow you to destroy it."
This paradox rests on the most elementary common sense. The gate or fence did not grow there. It was not set up by somnambulists who built it in their sleep. It is highly improbable that it was put there by escaped lunatics who were for some reason loose in the street. Some person had some reason for thinking it would be a good thing for somebody. And until we know what the reason was, we really cannot judge whether the reason was reasonable. It is extremely probable that we have overlooked some whole aspect of the question, if something set up by human beings like ourselves seems to be entirely meaningless and mysterious. There are reformers who get over this difficulty by assuming that all their fathers were fools; but if that be so, we can only say that folly appears to be a hereditary disease. But the truth is that nobody has any business to destroy a social institution until he has really seen it as an historical institution. If he knows how it arose, and what purposes it was supposed to serve, he may really be able to say that they were bad purposes, or that they have since become bad purposes, or that they are purposes which are no longer served. But if he simply stares at the thing as a senseless monstrosity that has somehow sprung up in his path, it is he and not the traditionalist who is suffering from an illusion.

"To Juan at the Winter Solstice" from Poems 1938-1945 (1946).
Poems
Context: There is one story and one story only
That will prove worth your telling,
Whether as learned bard or gifted child;
To it all lines or lesser guards belong
That startle with their shining
Such common stories as they stray into.

Mont Saint Michel and Chartres (1904)
Context: Every day, as the work went on, the Virgin was present, directing the architects, and it is this direction that we are going to study, if you have now got a realising sense of what it meant. Without this sense, the church is dead. Most persons of a deeply religious nature would tell you emphatically that nine churches out of ten actually were dead-born, after the thirteenth century, and that church architecture became a pure matter of mechanism or mathematics; but that is a question for you to decide when you come to it; and the pleasure consists not in seeing the death, but in feeling the life.

"The Beach Boys: The Healing of Brother Brian" http://www.rollingstone.com/music/news/the-healing-of-brother-brian-the-rolling-stone-interview-with-the-beach-boys-19761104?page=6 in Rolling Stone (4 November 1976)
Context: My mother used to tell me about vibrations. I didn't really understand too much of what that meant when I was just a boy. It scared me, the word "vibrations." To think that invisible feelings, invisible vibrations existed, scared me to death. But she told about dogs that would bark at people and then not bark at others, that a dog would pick up vibrations from these people that you can't see, but you can feel. And the same existed with people.

A Vindication of Natural Society (1756)
Context: I need not excuse myself to your Lordship, nor, I think, to any honest man, for the zeal I have shown in this cause; for it is an honest zeal, and in a good cause. I have defended natural religion against a confederacy of atheists and divines. I now plead for natural society against politicians, and for natural reason against all three. When the world is in a fitter temper than it is at present to hear truth, or when I shall be more indifferent about its temper, my thoughts may become more public. In the mean time, let them repose in my own bosom, and in the bosoms of such men as are fit to be initiated in the sober mysteries of truth and reason. My antagonists have already done as much as I could desire. Parties in religion and politics make sufficient discoveries concerning each other, to give a sober man a proper caution against them all. The monarchic, and aristocratical, and popular partisans have been jointly laying their axes to the root of all government, and have in their turns proved each other absurd and inconvenient. In vain you tell me that artificial government is good, but that I fall out only with the abuse. The thing! the thing itself is the abuse! Observe, my Lord, I pray you, that grand error upon which all artificial legislative power is founded. It was observed that men had ungovernable passions, which made it necessary to guard against the violence they might offer to each other. They appointed governors over them for this reason! But a worse and more perplexing difficulty arises, how to be defended against the governors? Quis custodiet ipsos custodes? In vain they change from a single person to a few. These few have the passions of the one; and they unite to strengthen themselves, and to secure the gratification of their lawless passions at the expense of the general good. In vain do we fly to the many. The case is worse; their passions are less under the government of reason, they are augmented by the contagion, and defended against all attacks by their multitude.

Source: Testimony: its Posture in the Scientific World (1859), p. 14
Context: Meteoric stones have proved to be a verity, and not an impossibility. About the same time, the fact of so many Gloucestershire peasantry having attested the prevention of small-pox by a virus from the teats of a cow, would have been deemed a sufficient answer to the same pleading, by nine out of every ten of the best educated physicians in England. Jenner's statue in Trafalgar Square tells us how fallacious the objection would have been. It is to be observed regarding such objections, that they are almost invariably gratuitous and unproved. Were they always put to the test of experiment, how many might prove like meteorites and vaccination?

Source: The Walking Drum (1984), Ch. 31
Context: How much could I tell them? How much dared I tell them? What was the point at which acceptance would begin to yield to doubt? For the mind must be prepared for knowledge as one prepares a field for planting, and a discovery made too soon is no better than a discovery not made at all. Had I been a Christian, I would undoubtedly have been considered a heretic, for what the world has always needed is more heretics and less authority. There can be no order or progress without discipline, but authority can be quite different. Authority, in this world in which I moved, implied belief in and acceptance of a dogma, and dogma is invariably wrong, as knowledge is always in a state of transition. The radical ideas of today are often the conservative policies of tomorrow, and dogma is left protesting by the wayside.  Each generation has a group that wishes to impose a static pattern on events, a static pattern that would hold society forever immobile in a position favorable to the group in question. <!--
Much of the conflict in the minds and arguments of those about me was due to a basic conflict between religious doctrines based primarily upon faith, and Greek philosophy, which was an attempt to interpret experience by reason. Or so it seemed to me, a man with much to learn.

"Politics Getting Ready to Jell" <!-- p. 265 -->
The Illiterate Digest (1924)

Kathy Acker: Where does she get off?
Context: I think writing is basically about time and rhythm. Like with jazz. You have your basic melody and then you just riff off of it. And the riffs are about timing. And about sex.
Writing for me is about my freedom. When I was a kid, my parents were like monsters to me, and the world extended from them. They were horrible. And I was this good little girl — I didn't have the guts to oppose them. They told me what to do and how to be. So the only time I could have any freedom or joy was when I was alone in my room. Writing is what I did when I was alone with no one watching me or telling me what to do. I could do whatever I wanted. So writing was really associated with body pleasure — it was the same thing. It was like the only thing I had.

Letter to James Macpherson, 20 June 1778. (Quotation used as epigram to Władysław Tatarkiewicz, "Dwa pojęcia poezji" ("Two Concepts of Poetry"), in Tatarkiewicz's book, Parerga, Warsaw, Państwowe Wydawnictwo Naukowe, 1978, pp. 20–38.)
Letters to and from Dr. Samuel Johnson

Perelandra (1943)
Context: And now, by a transition which he did not notice, it seemed that what had begun as speech was turned into sight, or into something that can be remembered only as if it were seeing. He thought he saw the Great Dance. It seemed to be woven out of the intertwining undulation of many cords or bands of light, leaping over and under one another and mutually embraced in arabesques and flower-like subtleties. Each figure as he looked at it became the master-figure or focus of the whole spectacle, by means of which his eye disentangled all else and brought it into unity — only to be itself entangled when he looked to what he had taken for mere marginal decorations and found that there also the same hegemony was claimed, and the claim made good, yet the former pattern thereby disposed but finding in its new subordination a significance greater than that which it had abdicated. He could see also (but the word "seeing" is now plainly inadequate) wherever the ribbons or serpents of light intersected minute corpuscles of momentary brightness: and he knew somehow that these particles were the secular generalities of which history tells — people, institutions, climates of opinion, civilizations, arts, sciences and the like — ephemeral coruscations that piped their short song and vanished. The ribbons or cords themselves, in which millions of corpuscles lived and died, were the things of some different kind. At first he could not say what. But he knew in the end that most of them were individual entities. If so, the time in which the Great Dance proceeds is very unlike time as we know it. Some of the thinner more delicate cords were the beings that we call short lived: flowers and insects, a fruit or a storm of rain, and once (he thought) a wave of the sea. Others were such things we think lasting: crystals, rivers, mountains, or even stars. Far above these in girth and luminosity and flashing with colours form beyond our spectrum were the lines of personal beings, yet as different from one another in splendour as all of them from the previous class. But not all the cords were individuals: some of them were universal truths or universal qualities. It did not surprise him then to find that these and the persons were both cords and both stood together as against the mere atoms of generality which lived and died in the clashing of their streams: But afterwards, when he came back to earth, he wondered. And by now the thing must have passed together out of the region of sight as we understand it. For he says that the whole figure of these enamored and inter-inanimate circlings was suddenly revealed as the mere superficies of a far vaster pattern in four dimensions, and that figure as the boundary of yet others in other worlds: till suddenly as the movement grew yet swifter, the interweaving yet more ecstatic, the relevance of all to all yet more intense, as dimension was added to dimension and that part of him which could reason and remember was dropped further and further behind that part of him which saw, even then, at the very zenith of complexity, complexity was eaten up and faded, as a thin white cloud fades into the hard blue burning of sky, and all simplicity beyond all comprehension, ancient and young as spring, illimitable, pellucid, drew him with cords of infinite desire into its own stillness. He went up into such a quietness, a privacy, and a freshness that at the very moment when he stood farthest from our ordinary mode of being he had the sense of stripping off encumbrances and awaking from a trance, and coming to himself. With a gesture of relaxation he looked about him…

This is also sometimes quoted as "The millions of people, armed in the holy cause of liberty".
1770s, "Give me liberty, or give me death!" (1775)
Context: They tell us, sir, that we are weak; unable to cope with so formidable an adversary. But when shall we be stronger? Will it be the next week, or the next year? Will it be when we are totally disarmed, and when a British guard shall be stationed in every house? Shall we gather strength by irresolution and inaction? Shall we acquire the means of effectual resistance by lying supinely on our backs and hugging the delusive phantom of hope, until our enemies shall have bound us hand and foot?
Sir, we are not weak if we make a proper use of those means which the God of nature hath placed in our power. Three millions of people, armed in the holy cause of Liberty, and in such a country as that which we possess, are invincible by any force which our enemy can send against us. Besides, sir, we shall not fight our battles alone. There is a just God who presides over the destinies of nations, and who will raise up friends to fight our battles for us. The battle, sir, is not to the strong alone; it is to the vigilant, the active, the brave.

Against the Galilaeans (c. 362)
Context: All of us, without being taught, have attained to a belief in some sort of divinity, though it is not easy for all men to know the precise truth about it, nor is it possible for those who do know it to tell it to all men. … Surely, besides this conception which is common to all men, there is another also. I mean that we are all by nature so closely dependent on the heavens and the gods that are visible therein, that even if any man conceives of another god besides these, he in every case assigns to him the heavens as his dwelling-place; not that he thereby separates him from the earth, but he so to speak establishes the King of the All in the heavens as in the most honourable place of all, and conceives of him as overseeing from there the affairs of this world. What need have I to summon Hellenes and Hebrews as witnesses of this? There exists no man who does not stretch out his hands towards the heavens when he prays; and whether he swears by one god or several, if he has any notion at all of the divine, he turns heavenward. And it was very natural that men should feel thus.

Discussing the plausibility of anti-piracy advertisements featuring wealthy Hollywood figures. Entertainment Weekly (18 April 2003)
Context: I found the most convincing part to be the working stiffs, the guys who have a modest home and kids who go to public schools. They make $75,000 to $100,000 a year. That's not much to live on. I don't have to tell you that.

The Tall Office Building Artistically Considered (1896)
Context: All things in nature have a shape, that is to say, a form, an outward semblance, that tells us what they are, that distinguishes them from ourselves and from each other.
Unfailingly in nature these shapes express the inner life, the native quality, of the animal, tree, bird, fish, that they present to us; they are so characteristic, so recognizable, that we say simply, it is "natural" it should be so. Yet the moment we peer beneath this surface of things, the moment we look through the tranquil reflection of ourselves and the clouds above us, down into the clear, fluent, unfathomable depth of nature, how startling is the silence of it, how amazing the flow of life, how absorbing the mystery! Unceasingly the essence of things is taking shape in the matter of things, and this unspeakable process we call birth and growth. Awhile the spirit and the matter fade away together, and it is this that we call decadence, death. These two happenings seem jointed and interdependent, blended into one like a bubble and its iridescence, and they seem borne along upon a slowly moving air. This air is wonderful past all understanding.
Yet to the steadfast eye of one standing upon the shore of things, looking chiefly and most lovingly upon that side on which the sun shines and that we feel joyously to be life, the heart is ever gladdened by the beauty, the exquisite spontaneity, with which life seeks and takes on its forms in an accord perfectly responsive to its needs. It seems ever as though the life and the form were absolutely one and inseparable, so adequate is the sense of fulfillment.

1960s, Why Jesus Called A Man A Fool (1967)
Context: I don’t mind telling you this morning that sometimes I feel discouraged. I felt discouraged in Chicago. As I move through Mississippi and Georgia and Alabama, I feel discouraged. Living every day under the threat of death, I feel discouraged sometimes. Living every day under extensive criticisms, even from Negroes, I feel discouraged sometimes. Yes, sometimes I feel discouraged and feel my work’s in vain. But then the Holy Spirit revives my soul again.

Source: The Confidence-Man: His Masquerade (1857), Ch. 45
Context: I cannot tell you how thankful I am for your reminding me about the apocrypha here. For the moment, its being such escaped me. Fact is, when all is bound up together, it's sometimes confusing. The uncanonical part should be bound distinct. And, now that I think of it, how well did those learned doctors who rejected for us this whole book of Sirach. I never read anything so calculated to destroy man's confidence in man. This son of Sirach even says — I saw it but just now: 'Take heed of thy friends'; not, observe, thy seeming friends, thy hypocritical friends, thy false friends, but thy friends, thy real friends — that is to say, not the truest friend in the world is to be implicitly trusted. Can Rochefoucault equal that? I should not wonder if his view of human nature, like Machiavelli's, was taken from this Son of Sirach. And to call it wisdom — the Wisdom of the Son of Sirach! Wisdom, indeed! What an ugly thing wisdom must be! Give me the folly that dimples the cheek, say I, rather than the wisdom that curdles the blood. But no, no; it ain't wisdom; it's apocrypha, as you say, sir. For how can that be trustworthy that teaches distrust?

"To the Indianapolis Clergy." The Iconoclast (Indianapolis, IN) (1883)
Context: As a result of what he did not teach in connection with what he did teach, his followers saw no harm in slavery, no harm in polygamy. They belittled this world and exaggerated the importance of the next. They consoled the slave by telling him that in a little while he would exchange his chains for wings. They comforted the captive by saying that in a few days he would leave his dungeon for the bowers of Paradise. His followers believed that he had said that “Whosoever believeth not shall be damned.” This passage was the cross upon which intellectual liberty was crucified. If Christ had given us the laws of health; if he had told us how to cure disease by natural means; if he had set the captive free; if he had crowned the people with their rightful power; if he had placed the home above the church; if he had broken all the mental chains; if he had flooded all the caves and dens of fear with light, and filled the future with a common joy, he would in truth have been the Savior of this world.

A Christian Manifesto (1982)
Context: Cambridge historians who aren't Christians would tell you that if it wasn't for the Wesley revival and the social change that Wesley's revival had brought, England would have had its own form of the French Revolution. It was Wesley saying people must be treated correctly and dealing down into the social needs of the day that made it possible for England to have its bloodless revolution in contrast to France's bloody revolution.

Source: Aeneid (29–19 BC), Book II, Lines 6 and 8 (tr. Fagles)

Source: The Book on the Taboo Against Knowing Who You Are (1966), p. 112

The Principles of Success in Literature (1865)
Context: The selective instinct of the artist tells him when his language should be homely, and when it should be more elevated; and it is precisely in the imperceptible blending of the plain with the ornate that a great writer is distinguished. He uses the simplest phrases without triviality, and the grandest without a suggestion of grandiloquence.

"Breathe"
2000s, Hotel Paper (2003)
Context: I've been driving for an hour; just talking to the rain. You say I've been driving you crazy, and it's keeping you away. So, just give me one good reason. Tell me why, I should stay. Because I don't want to waste another moment, saying things we never meant to say. And I? Take it, just a little bit. I? Hold my breath and count to ten, I? I've been waiting for a chance, to let you in. If I just, breathe? Let it fill the space between? I'll know, everything is alright. Breathe, every little piece of me. You'll see, everything is alright. If I just, breathe.

As quoted in The Fabulous Fanny : The Story of Fanny Brice (1953) by Norman Katkov, p. 71
Context: Your audience gives you everything you need. They tell you. There is no director who can direct you like an audience. You step out on the stage and you can feel it is a nervous audience. So you calm them down. I come out before an audience and maybe my house burned down an hour ago, maybe my husband stayed out all night, but I stand there. I'm still. I don't move. I wait for the introduction. Maybe I cough. Maybe I touch myself. But before I do anything, I got them with me, right there in my hand and comfortable. That's my job, to make them comfortable, because if they wanted to be nervous they could have stayed home and added up their bills.

The Efficacy of Prayer (1958)
Context: Petitionary prayer is, nonetheless, both allowed and commanded to us: “Give us our daily bread.” And no doubt it raises a theoretical problem. Can we believe that God ever really modifies His action in response to the suggestions of men? For infinite wisdom does not need telling what is best, and infinite goodness needs no urging to do it. But neither does God need any of those things that are done by finite agents, whether living or inanimate. He could, if He chose, repair our bodies miraculously without food; or give us food without the aid of farmers, bakers, and butchers; or knowledge without the aid of learned men; or convert the heathen without missionaries. Instead, He allows soils and weather and animals and the muscles, minds, and wills of men to co-operate in the execution of His will. “God,” said Pascal, “instituted prayer in order to lend to His creatures the dignity of causality.” But not only prayer; whenever we act at all He lends us that dignity. It is not really stranger, nor less strange, that my prayers should affect the course of events than that my other actions should do so. They have not advised or changed God's mind—that is, His over-all purpose. But that purpose will be realized in different ways according to the actions, including the prayers, of His creatures.

Source: The Persians (472 BC), line 253 (tr. Janet Lembke and C. J. Herington)

"A Way to Love God", New and Selected Poems 1923–1985 (1985)
Context: I cannot recall what I started to tell you, but at least
I can say how night-long I have lain under the stars and
Heard mountains moan in their sleep. By daylight,
They remember nothing, and go about their lawful occasions
Of not going anywhere except in slow disintegration. At night
They remember, however, that there is something they cannot remember.
So moan. Their's is the perfected pain of conscience that
Of forgetting the crime, and I hope you have not suffered it. I have.

Biographical profile http://rivera-ortiz.com/html_info.cfm?menu_itemID=144717&load=html
Official site
Context: I don’t need them to tell me what it feels like to be poor … I already know how this feels, how it smells and how it tastes! When I talk to them … I want them to tell me about their hopes and aspirations, about their dreams… about the road ahead and how they imagine it will shape up out in front of them to make the dreaming and hoping come true. I ask them about assistance, about the health, and about their families near or far.

O interview (2003)
Context: Yes, I'm beautiful … I am beautiful and famous — and yet the things I like about myself have nothing to do with that, because I don't use wealth and beauty to define myself. People think I'm more beautiful than I am because they see me on magazine covers — but go to nearly any town, and you'd find prettier women. And though I'm well known now, I might not be famous one day —but I'd still be happy. I do have money, but I could be richer. I just don't want to pay the price some are willing to pay to have more money. I live in a small house. I'm not the glamour girl who wears makeup every day. I live a wonderful life, and I lack for nothing. Maybe that does make it easier for me to say, "Be who you are" — but I always tell people they shouldn't be too impressed with wealth and fame. They shouldn't worship it. I am in this machine, but I haven't completely given my soul to it.

"The voice of the lonely crowd" (2002)
Context: My apostasy, at the age of nine, was vehement. Clearly, I didn't want the shared words, the shared identity. I forswore chapel; those Bibles were scribbled on and otherwise desecrated, and two or three of them were taken into the back garden and quietly torched.
Later — we were now in Cambridge — I gave a school speech in which I rejected all belief as an affront to common sense. I was an atheist, and I was 12: it seemed open-and-shut. I had not pondered Kant's rather lenient remark about the crooked timber of humanity, out of which nothing straight is ever built. Nor was I aware that the soul had legitimate needs.
Much more recently I reclassified myself as an agnostic. Atheism, it turns out, is not quite rational either. The sketchiest acquaintance with cosmology will tell you that the universe is not, or is not yet, decipherable by human beings. It will also tell you that the universe is far more bizarre, prodigious and chillingly grand than any doctrine, and that spiritual needs can be met by its contemplation. Belief is otiose; reality is sufficiently awesome as it stands.

Love is not a feeling ~ The Article (1995)

Canto I, line 131
Hudibras, Part I (1663–1664)
Context: Whatever sceptic could inquire for,
For ev'ry why he had a wherefore;
Knew more than forty of them do,
As far as words and terms cou'd go.
All which he understood by rote
And, as occasion serv'd, would quote;
No matter whether right or wrong,
They might be either said or sung.
His notions fitted things so well,
That which was which he could not tell;
But oftentimes mistook th' one
For th' other, as great clerks have done.

The Diary of Samuel Marchbanks (1947)
Context: I don't really care how time is reckoned so long as there is some agreement about it, but I object to being told that I am saving daylight when my reason tells me that I am doing nothing of the kind. I even object to the implication that I am wasting something valuable if I stay in bed after the sun has risen. As an admirer of moonlight I resent the bossy insistence of those who want to reduce my time for enjoying it. At the back of the Daylight Saving scheme I detect the bony, blue-fingered hand of Puritanism, eager to push people into bed earlier, and get them up earlier, to make them healthy, wealthy and wise in spite of themselves.

Foreword http://www.psychedelic-library.org/childf.htm
LSD : My Problem Child (1980)
Context: There are experiences that most of us are hesitant to speak about, because they do not conform to everyday reality and defy rational explanation. These are not particular external occurrences, but rather events of our inner lives, which are generally dismissed as figments of the imagination and barred from our memory. Suddenly, the familiar view of our surroundings is transformed in a strange, delightful, or alarming way: it appears to us in a new light, takes on a special meaning. Such an experience can be as light and fleeting as a breath of air, or it can imprint itself deeply upon our minds.
One enchantment of that kind, which I experienced in childhood, has remained remarkably vivid in my memory ever since. It happened on a May morning — I have forgotten the year — but I can still point to the exact spot where it occurred, on a forest path on Martinsberg above Baden, Switzerland. As I strolled through the freshly greened woods filled with bird song and lit up by the morning sun, all at once everything appeared in an uncommonly clear light. Was this something I had simply failed to notice before? Was I suddenly discovering the spring forest as it actually looked? It shone with the most beautiful radiance, speaking to the heart, as though it wanted to encompass me in its majesty. I was filled with an indescribable sensation of joy, oneness, and blissful security.
I have no idea how long I stood there spellbound. But I recall the anxious concern I felt as the radiance slowly dissolved and I hiked on: how could a vision that was so real and convincing, so directly and deeply felt — how could it end so soon? And how could I tell anyone about it, as my overflowing joy compelled me to do, since I knew there were no words to describe what I had seen? It seemed strange that I, as a child, had seen something so marvelous, something that adults obviously did not perceive — for I had never heard them mention it.
While still a child, I experienced several more of these deeply euphoric moments on my rambles through forest and meadow. It was these experiences that shaped the main outlines of my world view and convinced me of the existence of a miraculous, powerful, unfathomable reality that was hidden from everyday sight.

The Making of Americans (1925)
Context: There are many that I know and I know it. They are many that I know and they know it. They are all of them themselves and they repeat it and I hear it. Always I listen to it. Slowly I come to understand it. Many years I listened and did not know it. I heard it, I understood it some, I did not know I heard it. They repeat themselves now and I listen to it. Every way that they do it now I hear it. Now each time very slowly I come to understand it. Always it comes very slowly the completed understanding of it, the repeating each one does to tell it the whole history of the being in each one, always now I hear it. Always now slowly I understand it.

On considering his wife's suggestion that he write his autobiography, Prologue, p. xiii
A Tale of Two Continents (1997)
Context: I made a discovery, perhaps known to others but new to me: I need not put myself center stage but can rather place myself at the side, like a Greek chorus. As the curtain rises, I can walk to the center and can speak as follows: I wish to tell you of happenings in the twentieth century, as I witnessed them and reflected upon them. You will see me return to center stage, but only occasionally. Once that imagery had gotten hold of me, I went back to Ida and said yes, I shall try.

What Would You Substitute for the Bible as a Moral Guide? (1900)
Context: You ask me what I would “substitute for the Bible as a moral guide.” I know that many people regard the Bible as the only moral guide and believe that in that book only can be found the true and perfect standard of morality. There are many good precepts, many wise sayings and many good regulations and laws in the Bible, and these are mingled with bad precepts, with foolish sayings, with absurd rules and cruel laws.
But we must remember that the Bible is a collection of many books written centuries apart, and that it in part represents the growth and tells in part the history of a people. We must also remember that the writers treat of many subjects. Many of these writers have nothing to say about right or wrong, about vice or virtue.

The Napoleon of Notting Hill (1904)
The Napoleon of Notting Hill (1904)
Context: Many clever men like you have trusted to civilization. Many clever Babylonians, many clever Egyptians, many clever men at the end of Rome. Can you tell me, in a world that is flagrant with the failures of civilisation, what there is particularly immortal about yours?

interview by Charles M. Young in Rolling Stone, May 28, 1992 http://www.chomsky.info/interviews/19920528.htm.
Quotes 1990s, 1990-1994
Context: If you quietly accept and go along no matter what your feelings are, ultimately you internalize what you're saying, because it's too hard to believe one thing and say another. I can see it very strikingly in my own background. Go to any elite university and you are usually speaking to very disciplined people, people who have been selected for obedience. And that makes sense. If you've resisted the temptation to tell the teacher, "You're an asshole," which maybe he or she is, and if you don't say, "That's idiotic," when you get a stupid assignment, you will gradually pass through the required filters. You will end up at a good college and eventually with a good job.

Source: Zen and the Art of Motorcycle Maintenance (1974), Ch. 30
Context: For three days and three nights, Phædrus stares at the wall of the bedroom, his thoughts moving neither forward nor backward, staying only at the instant. His wife asks if he is sick, and he does not answer. His wife becomes angry, but Phædrus listens without responding. He is aware of what she says but is no longer able to feel any urgency about it. Not only are his thoughts slowing down, but his desires too. And they slow and slow, as if gaining an imponderable mass. So heavy, so tired, but no sleep comes. He feels like a giant, a million miles tall. He feels himself extending into the universe with no limit.
He begins to discard things, encumbrances that he has carried with him all his life. He tells his wife to leave with the children, to consider themselves separated. Fear of loathsomeness and shame disappear when his urine flows not deliberately but naturally on the floor of the room. Fear of pain, the pain of the martyrs is overcome when cigarettes burn not deliberately but naturally down into his fingers until they are extinguished by blisters formed by their own heat. His wife sees his injured hands and the urine on the floor and calls for help.
But before help comes, slowly, imperceptibly at first, the entire consciousness of Phædrus begins to come apart — to dissolve and fade away. Then gradually he no longer wonders what will happen next. He knows what will happen next, and tears flow for his family and for himself and for this world.

Autobiographical sketch (23 July 1920), published in Portrait of a Marriage : Vita Sackville-West and Harold Nicolson (1998), p. 3
Context: Of course I have no right whatsoever to write down the truth about my life involving as it naturally does the lives of so many other people, but I do so urged by a necessity of truth-telling, because there is no living soul who knows the complete truth; here, may be one who knows a section; and there, one who knows another section: but to the whole picture not one is initiated.

As quoted in "V.S. Pritchett's Century" (1990) by Martin Amis; later included in Visiting Mrs. Nabokov and Other Excursions (1993) by Martin Amis, p. 272
Context: I found people were telling stories to themselves without knowing it. It seemed to me that people were living a sort of small sermon that they believed in, but at the same time it was a fairy tale. Selfish desires, along with one or two highly suspect elevated thoughts. They secretly regard themselves as works of art, valuable in themselves.

Source: Dictionary of Burning Words of Brilliant Writers (1895), p. 390
Context: Our yearnings are homesicknesses for heaven; our sighings are for God, just as children that cry themselves asleep away from home, and sob in their slumber, know not that they sob for their parents. The soul's inarticulate moanings are the affections yearning for the Infinite, and having no one to tell them what it is that ails them.

Kathy Acker: Where does she get off?
Context: KA: I've been going to this rolfer. I don't know why I'm doing it. It's like: "You will get rid of all your childhood traumas if you only go through this pain." Fuck childhood. People always say you do all these things because of your childhood. I'm sorry, but what really gets me off is the idea that you can just travel, and traveling is just like having an endless orgasm. You just go and go and go.
RUS: In that state, you lose your individual identity — and therefore your childhood. But the rolfer is trying to drag you back into accepting your singular identity.
KA: Yeah. He's telling me, "Your agenda is..." and I'm saying, "My agenda? I don't have an agenda and I'm not sure who I am. Who am I?" He keeps on saying, "You know what you want." And I say, "I don't know what I want."
RUS: If he succeeds in dragging you into a singular "I," that's the death of Kathy Acker the writer.
KA: Yeah, it sure is. But I don't think he'll succeed. He doesn't have a fuckin' chance. I'm just trying to fuck him. If he won't fuck, we're not going anywhere. He can't make me into this singular "I." I told him, "You gotta consider the pleasure principle — namely my pleasure." He didn't like that.
RUS: I always say, divide the word "therapist" between the "e" and the "r."
KA: Yeah. The rapist. Because they're taking all your childhood wonderment and reducing it to childhood trauma. He gives me these long lectures about how he's not enlightened and he wants to be an animal. Can you imagine long lectures about wanting to be an animal? What a fuckin' bozo!
RUS: When I was in college, all of the poetry teachers worshipped Robert Bly, so I had my fill of that shit.
KA: I told him about my piercings and he said, "Oh, you're a wild woman." Then I asked him if he wanted to see my piercings. He wouldn't do it.

Address to Polaroid employees at Symphony Hall in Boston, Massachusetts (5 February 1960), as quoted in Insisting on the Impossible : The Life of Edwin Land (1998) by Victor K. McElheny, p. 198
Context: The world is a scene changing so rapidly that it takes every bit of intuitive ability you have, every brain cell each one of you has, to make the sensible decision about what to do next. You cannot rely upon what you have been taught. All you have learned from history is old ways of making mistakes. There is nothing that history can tell you about what we must do tomorrow. Only what we must not do.

In an interview https://80000hours.org/2014/10/interview-holden-karnofsky-on-the-importance-of-personal-fit/ with Benjamin Todd, January 2014

Source: Guide for the Perplexed (c. 1190), Part III, Ch.29
Context: In accordance with the Sabean theories images were erected to the stars, golden images to the sun, images of silver to the moon, and they attributed the metals and the climates to the influence of the planets, saying that a certain planet is the god of a certain zone. They built temples, placed in them images, and assumed that the stars sent forth their influence upon these images, which are thereby enabled (to speak) to understand, to comprehend, to inspire human beings, and to tell them what is useful to them. They apply the same to trees which fall to the lot of these stars.

"The Fly"
Good Intentions (1942)
Variant: God in his wisdom made me fly, and then forgot to tell me why.

The Usurpation Of Language (1910)
Context: Though science makes no use for poetry, poetry is enriched by science. Poetry “takes up” the scientific vision and re-expresses its truths, but always in forms which compel us to look beyond them to the total object which is telling its own story and standing in its own rights. In this the poet and the philosopher are one. Using language as the lever, they lift thought above the levels where words perplex and retard its flight, and leave it, at last, standing face to face with the object which reveals itself.

From 1980s onwards, Only Integrity is Going to Count (1983)
Context: I never try to tell anybody else what to do, number one. And number two, I think that's what the individual is all about. Each one of us has something to contribute. This really depends on each one doing their own thinking, but not following any kind of rule that I can give out, any command. We're all on the frontier, we're all in a great mystery — incredibly mysterious. Each one possesses exactly what each one is working out, and what each one works out relates to their particular set of circumstances of any one day, or any one place around the world.

Four Screenplays of Ingmar Bergman (1960).
Context: People ask what are my intentions with my films — my aims. It is a difficult and dangerous question, and I usually give an evasive answer: I try to tell the truth about the human condition, the truth as I see it. This answer seems to satisfy everyone, but it is not quite correct. I prefer to describe what I would like my aim to be. There is an old story of how the cathedral of Chartres was struck by lightning and burned to the ground. Then thousands of people came from all points of the compass, like a giant procession of ants, and together they began to rebuild the cathedral on its old site. They worked until the building was completed — master builders, artists, labourers, clowns, noblemen, priests, burghers. But they all remained anonymous, and no one knows to this day who built the cathedral of Chartres.
Regardless of my own beliefs and my own doubts, which are unimportant in this connection, it is my opinion that art lost its basic creative drive the moment it was separated from worship. It severed an umbilical cord and now lives its own sterile life, generating and degenerating itself. In former days the artist remained unknown and his work was to the glory of God. He lived and died without being more or less important than other artisans; 'eternal values,' 'immortality' and 'masterpiece' were terms not applicable in his case. The ability to create was a gift. In such a world flourished invulnerable assurance and natural humility. Today the individual has become the highest form and the greatest bane of artistic creation.
The smallest wound or pain of the ego is examined under a microscope as if it were of eternal importance. The artist considers his isolation, his subjectivity, his individualism almost holy. Thus we finally gather in one large pen, where we stand and bleat about our loneliness without listening to each other and without realizing that we are smothering each other to death. The individualists stare into each other's eyes and yet deny the existence of each other.
We walk in circles, so limited by our own anxieties that we can no longer distinguish between true and false, between the gangster's whim and the purest ideal. Thus if I am asked what I would like the general purpose of my films to be, I would reply that I want to be one of the artists in the cathedral on the great plain. I want to make a dragon's head, an angel, a devil — or perhaps a saint — out of stone. It does not matter which; it is the sense of satisfaction that counts.
Regardless of whether I believe or not, whether I am a Christian or not, I would play my part in the collective building of the cathedral.

As quoted in Mary Martin : Broadway Legend (2008) by Ronald L. Davis. p. 183
Context: I can't tell you the joy I felt in flying in that show … I loved it so. The freedom of spirit that was Peter Pan was suddenly there for me. I discovered I was happier in the air than on the ground.

The Liberty of Man, Woman and Child (1877)
Context: Standing in the presence of the Unknown, all have the same right to think, and all are equally interested in the great questions of origin and destiny. All I claim, all I plead for, is liberty of thought and expression. That is all. I do not pretend to tell what is absolutely true, but what I think is true. I do not pretend to tell all the truth.
I do not claim that I have floated level with the heights of thought, or that I have descended to the very depths of things. I simply claim that what ideas I have, I have a right to express; and that any man who denies that right to me is an intellectual thief and robber. That is all.

Letter to Gary Hanauser (18 September 1979), as quoted in All the Best, George Bush : My Life in Letters and Other Writings (2000), p. 282
Context: It is possible to tell things by a handshake. I like the "looking in the eye" syndrome. It conveys interest. I like the firm, though not bone crushing shake. The bone crusher is trying too hard to "macho it.: The clammy or diffident handshake — fairly or unfairly — get me off to a bad start with a person.

Source: Aeneid (29–19 BC), Book I, Line 439

Creusa, fragment 323.

1970s, Remarks on pardoning Nixon (1974)
Context: I have come to a decision which I felt I should tell you and all of my fellow American citizens, as soon as I was certain in my own mind and in my own conscience that it is the right thing to do.
I have learned already in this office that the difficult decisions always come to this desk. I must admit that many of them do not look at all the same as the hypothetical questions that I have answered freely and perhaps too fast on previous occasions.
My customary policy is to try and get all the facts and to consider the opinions of my countrymen and to take counsel with my most valued friends. But these seldom agree, and in the end, the decision is mine. To procrastinate, to agonize, and to wait for a more favorable turn of events that may never come or more compelling external pressures that may as well be wrong as right, is itself a decision of sorts and a weak and potentially dangerous course for a President to follow.
I have promised to uphold the Constitution, to do what is right as God gives me to see the right, and to do the very best that I can for America.

The Shared Patio (2005)
Context: I pretended that I was pausing before telling him about the secret feeling of joy that I hide in my chest, waiting, waiting, waiting for someone to notice that I rise each morning seemingly with nothing to live for, but I do rise, and it is only because of this secret joy, God's love, in my chest. I looked down from the sky and into his eyes and I said, It wasn't your fault. I excused him for the cover and for everything else. For not yet being a New Man. We fell into silence then; he did not ask me any more questions. I was still happy to sit there beside him, but that is only because I have very, very low expectations of most people, and he had now become Most People.

I’ve Got A Nietzsche Trigger Finger! (1986)
Context: I tell everyone not to do what I say! I’m behind the odd-ball, my ancestor was Putdown Man! Judge Crater freed me on my own recognizance, I ask: “What would Harpo say?”
For me, know ain’t nothing but no misspelled, and all cretins are liars. I go-for-baroque, I’m a lowlife hierarch, I picked the Locke and entered the Avant-Garden of Eden. I got Spartacus to take the rap for me! I’m the heavyweight Light-Bringer, I'm the out-of-court jester who won't settle, I up the vigilante, I'm a law unto myself but break it anyway! I made a forced landing on the Moebius Strip and now I want to know, which side are you on?

"Are You Happy Now?"
2000s, Hotel Paper (2003)
Context: Now, don't just walk away. Pretending everything's okay, and you don't care about me. And I know there's just no use, when all your lies become your truths and I don't care. Could you look me in the eye? And tell me that you're happy now? Would you tell it to my face? Or have I been erased? Are you happy now? Are you happy now?

Iran, Regime Change or Behavior Change: A false choice http://www.rezapahlavi.org/details_article.php?article=104&page=5, Hudson Institute, Apr. 3, 2007.
Speeches, 2007

Quoted in Greta Thunberg: ‘All my life I’ve been the invisible girl,' Leslie Hook https://www.ft.com/content/4df1b9e6-34fb-11e9-bd3a-8b2a211d90d5Financial Times (22 February 2019)
2019

facebook

On debating the reactions of her readership in “Hanya Yanagihara: ‘I wanted everything turned up a little too high’” https://www.theguardian.com/books/2015/jul/26/hanya-yanagihara-i-wanted-everything-turned-up-a-little-too-high-interview-a-little-life in The Guardian (2015 Jul 26)

Source: The Book of Ram, p. 183

Source: The Book of Ram, p. 3

Urvashi Butalia, Other Side Of Silence: Voices from the Partition of India

On giving his book That Reminds Me folkloric elements in “Derek Owusu: ‘Mental health issues that people find scary aren’t being talked about’” https://www.theguardian.com/books/2019/nov/02/derek-owusu-that-reminds-me-stormzy-mens-mental-health in The Guardian (2019 Nov 2)

Interviewed by Zora Burden https://zoraburden.weebly.com/jack-sargeant.html (2014)

How we made the nuclear apocalypse TV drama Threads

Source: Hard-Boiled Wonderland and the End of the World (1985), Chapter 32, Shadow in the Throes of Death

18th October 1968
1960s
Source: https://archives.nbclearn.com/portal/site/k-12/flatview?cuecard=34499