Jojo Moyes Quotes

“But now, inside the gallery, something happens to him. He finds his emotions gripped by the paintings, the huge, colorful canvases by Diego Rivera, the tiny, agonized self-portraits by Frida Kahlo, the woman Rivera loved. Fabien barely notices the crowds that cluster in front of the pictures.He stops before a perfect little painting in which she has pictured her spine as a cracked column. There is something about the grief in her eyes that won't let him look away. That is suffering, he thinks. He thinks about how long he's been moping about Sandrine, and it makes him feel embarrassed, self-indulgent. Theirs, he suspects, was not an epic love story like Diego and Frida's.He finds himself coming back again and again to stand in front of the same pictures, reading about the couple's life, the passion they shared for their art, for workers' rights, for each other. He feels an appetite growing within him for something bigger, better, more meaningful. He wants to live like these people. He has to make his writing better, to keep going. He has to.He is filled with an urge to go home and write something that is fresh and new and has in it the honesty of these pictures. Most of all he just wants to write. But what?”

“But now, inside the gallery, something happens to him. He finds his emotions gripped by the paintings, the huge, colorful canvases by Diego Rivera, the tiny, agonized self-portraits by Frida Kahlo, the woman Rivera loved. Fabien barely notices the crowds that cluster in front of the pictures.He stops before a perfect little painting in which she has pictured her spine as a cracked column. There is something about the grief in her eyes that won't let him look away. That is suffering, he thinks. He thinks about how long he's been moping about Sandrine, and it makes him feel embarrassed, self-indulgent. Theirs, he suspects, was not an epic love story like Diego and Frida's.He finds himself coming back again and again to stand in front of the same pictures, reading about the couple's life, the passion they shared for their art, for workers' rights, for each other. He feels an appetite growing within him for something bigger, better, more meaningful. He wants to live like these people. He has to make his writing better, to keep going. He has to.He is filled with an urge to go home and write something that is fresh and new and has in it the honesty of these pictures. Most of all he just wants to write. But what?”

“San Diego shaped me a lot. The visual landscapes, the emotional panoramas, the teachers and mentors I had from the third grade through San Diego High - it's all a big part of the poetry fountain that I continue to drink from.”

“I spent the two and one-half months between my meeting with the Art Commission and the beginning of my actual mural work in soaking up impressions of the productive activities of the city. I studied industrial scenes by night as well as by day, making literally thousands of sketches of towering blast furnaces, serpentine conveyor belts, impressive scientific laboratories, busy assembling rooms; also of precision instruments, some of them massive yet delicate; and of the men who worked them all. I walked for miles through the immense workshops of the Ford, Chrysler, Edison, Michigan Alkali, and Parke-Davis plants. I was afire with enthusiasm. My childhood passion for mechanical toys had been transmuted to a delight in machinery for its own sake and for its meaning to man -- his self-fulfillment and liberation from drudgery and poverty. That is why now I placed the collective hero, man-and-machine, higher than the old traditional heroes of art and legend. I felt that in the society of the future as already, to some extent, that of the present, man-and-machine would be as important as air, water, and the light of the sun.This was the "philosophy," the state of mind in which I undertook my Detroit frescoes.”

“While working in California, I met William Valentiner and Edgar Richardson of the Detroit Institute of Arts. I mentioned a desire which I had to paint a series of murals about the industries of the United States, a series that would constitute a new kind of plastic poem, depicting in color and form the story of each industry and its division of labor. Dr. Valentiner was keenly interested, considering my idea a potential base for a new school of modern art in America, as related to the social structure of American life as the art of the Middle Ages had been related to medieval society.”

“In Brazil, if you have a son, the first thing you give him is a football. That's the first gift - so my dad was no different.”

“I'd like to get back home to Nova Scotia more, but thankfully, with technology you can call and text and FaceTime. But physically being in Toronto or Nova Scotia... there's nothing like it.”

“Many times when you're a tourist you can just stay on the surface and not really experience the place you're visiting, which will probably leave you disappointed. Everywhere has something interesting; it's just about being curious enough to find it and scratch where you have to scratch and stay longer and walk further.”

“You just have to be prepared because in the Premier League, you are not always going to have more than once chance to score. When it comes your way, you have to be ready to take that chance. If you're not calm, you know it might not come again.”

“If I could apologise and go back and change history I would do. But the goal is still a goal, Argentina became world champions and I was the best player in the world.”

“There would be no debate about who was the best footballer the world had ever seen - me or Pele. Everyone would say me.”