Living people Quotes

“When you have closed the Bible, you have neither closed God's mind nor shut God's mouth. God continues to speak, live and exist. I think we should consult the living God for the living word for living people dealing with death, destruction and despair in the midst of our hurt humanity. I believe love will conquer all.”

“Were the earth as smooth as a ball bearing, it might be beautiful seen from another planet, as the rings of Saturn are. But here we live and move; we wander up and down the banks of the creek, we ride a railway through the Alps, and the landscape shifts and changes. Were the earth smooth, our brains would be smooth as well; we would wake, blink, walk two steps to get the whole picture and lapse into dreamless sleep. Because we are living people, and because we are on the receiving end of beauty, another element necessarily enters the question. The texture of space is a condition of time. Time is the warp and matter the weft of woven texture of beauty in space, and death is the hurtling shuttle… What I want to do, then, is add time to the texture, paint the landscape on an unrolling scroll, and set the giant relief globe spinning on it stand.”

“Today’s living people are much more important than tomorrow’s yet unborn people! We need to help the people of today before helping the people of tomorrow! We cannot make our plans so as to save the people of distant future by ignoring today’s people!”

“You can lose your way groping among the shadows of the past. It's frightening how many people and things there are in a man's past that have stopped moving. The living people we've lost in the crypts of time sleep so soundly side by side with the dead that the same darkness envelops them all.As we grow older, we no longer know whom to awaken, the living or the dead.”

“The scene is most beautiful without people in it. People just screw things up. Forget the whole thing, the world, all the living people, I tell myself, and it has a ring of truth to it. The dead are better, aren't they? The dead don't betray or harm. They've already done all they can do. I can't figure out what people mean or who they are or whether they can be trusted, so, forget them. Don't even try anymore. For now at least, forget the living.”

“Marxism rejected the family and the state, but in practice it kept these institutions. Every pure religion disapproved of man's worrying about this world, but as the ideology of living people, it accepted the struggle for social justice and a better world. Marxism has had to accept some degree of individual freedom and religion some use of force. It is obvious in real life that man cannot live according to a consistent philosophy.”

“I did some research on this a couple years ago," Augustus continued. "I was wondering if everybody could be remembered. Like, if we got organized, and assigned a certain number of corpses to each living person, would there be enough living people to remember all the dead people?""And are there?" "Sure, anyone can name fourteen dead people. But we're disorganized mourners, so a lot of people end up remembering Shakespeare and no one ends up remembering the person he wrote Sonnet Fifty-five about”

“A child is asleep. Her private life unwinds inside skin and skull; only as she sheds childhood, first one decade and then another, can she locate the actual, historical stream, see the setting of her dreaming private life—the nation, the city, the neighborhood, the house where the family lives—as an actual project under way, a project living people willed, and made well or failed, and are still making, herself among them. I breathed the air of history all unaware, and walked oblivious through its littered layers.”

“When writing a novel a writer should create living people; people not characters. A character is a caricature. If a writer can make people live there may be no great characters in his book, but it is possible that his book will remain as a whole; as an entity; as a novel. If the people the writer is making talk of old masters; of music; of modern painting; of letters; or of science then they should talk of those subjects in the novel. If they do not talk of these subjects and the writer makes them talk of them he is a faker, and if he talks about them himself to show how much he knows then he is showing off. No matter how good a phrase or a simile he may have if he puts it in where it is not absolutely necessary and irreplaceable he is spoiling his work for egotism. Prose is architecture, not interior decoration, and the Baroque is over. For a writer to put his own intellectual musings, which he might sell for a low price as essays, into the mouths of artificially constructed characters which are more remunerative when issued as people in a novel is good economics, perhaps, but does not make literature. People in a novel, not skillfully constructed characters, must be projected from the writer’s assimilated experience, from his knowledge, from his head, from his heart and from all there is of him. If he ever has luck as well as seriousness and gets them out entire they will have more than one dimension and they will last a long time. A good writer should know as near everything as possible. Naturally he will not. A great enough writer seems to be born with knowledge. But he really is not; he has only been born with the ability to learn in a quicker ratio to the passage of time than other men and without conscious application, and with an intelligence to accept or reject what is already presented as knowledge. There are some things which cannot be learned quickly and time, which is all we have, must be paid heavily for their acquiring. They are the very simplest things and because it takes a man’s life to know them the little new that each man gets from life is very costly and the only heritage he has to leave. Every novel which is truly written contributes to the total of knowledge which is there at the disposal of the next writer who comes, but the next writer must pay, always, a certain nominal percentage in experience to be able to understand and assimilate what is available as his birthright and what he must, in turn, take his departure from. If a writer of prose knows enough about what he is writing about he may omit things that he knows and the reader, if the writer is writing truly enough, will have a feeling of those things as strongly as though the writer had stated them. The dignity of movement of an ice-berg is due to only one-eighth of it being above water. A writer who omits things because he does not know them only makes hollow places in his writing. A writer who appreciates the seriousness of writing so little that he is anxious to make people see he is formally educated, cultured or well-bred is merely a popinjay. And this too remember; a serious writer is not to be confounded with a solemn writer. A serious writer may be a hawk or a buzzard or even a popinjay, but a solemn writer is always a bloody owl.”