Eliot waugh Quotes

“Wishes are held to be ominous; according to which belief the order of the world is so arranged that if you have an impious objection to a squint, your offspring is more likely to be born with one; also, that if you happen to desire a squint, you would not get it. This desponding view of probability the hopeful entirely reject, taking their wishes as good and sufficient security for all kinds of fulfilment.”

“The days were longer then (for time, like money, is measured by our needs), when summer afternoons were spacious, and the clock ticked slowly in the winter evenings.”

“Let me introduce you. Sophie, this is Miss Eliot, from the National Childcare Agency. Miss Eliot, this is Sophie, from the ocean.”

“I don't know much about gods, but I think the river is a strong, brown god”

“Will the veiled sister pray for Those who walk in darkness, who chose thee and oppose thee, Those who are torn on the horn between season and season, time and time, between Hour and hour, word and word, power and power, those who wait In darkness? Will the veiled sister pray For children at the gate Who will not go away and cannot pray: Pray for those who chose and oppose”

“You are not here to verify,instruct yourself, or inform curiosityor carry report. You are here to kneelwhere prayer has been valid. And prayer is more than an order of words, the conscious occupation of the praying mind, or the sound of the voice praying.”

“In the 'Life' of George Eliot, John Walter Cross gave an intriguing account of Eliot's creative method. "She told me that, in all her best writing, there was a 'not herself' which took possession of her, and that she felt her own personality to be merely the instrument through which this spirit, as it were, was acting," Cross wrote.”

“ 'You can't stop me. Your word voodoo, it doesn't work on me. Right? So how do you think you're going to-' Eliot produced a pistol. He didn't seem to pull it from anywhere. He just suddenly had it. Wil's eyes stung. 'See?' Eliot put away the gun. 'There are all kinds of persuasion.' ”

“Perhaps the central question about [Eliot] Porter's work is about the relationship between science, aesthetics, and environmental politics. His brother, the painter and critic Fairfield Porter, wrote in a 1960 review of [Porter's] colour photographs: 'There is no subject and background, every corner is alive,' and this suggests what an ecological aesthetic might look like. ”