Harry > Harry's Quotes

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  • #1
    Aleksandr Solzhenitsyn
    “Own only what you can always carry with you: know languages, know countries, know people. Let your memory be your travel bag.”
    Aleksandr Solzhenitsyn, The Gulag Archipelago 1918–1956

  • #2
    E.E. Cummings
    “Knowledge is a polite word for dead but not buried imagination.”
    e.e cummings

  • #3
    Benjamin Hoff
    “Rabbit's clever," said Pooh thoughtfully.
    "Yes," said Piglet, "Rabbit's clever."
    "And he has Brain."
    "Yes," said Piglet, "Rabbit has Brain."
    There was a long silence.
    "I suppose," said Pooh, "that that's why he never understands anything.”
    Benjamin Hoff, The Tao of Pooh

  • #4
    Haruki Murakami
    “It's like Tolstoy said. Happiness is an allegory, unhappiness a story.”
    Haruki Murakami, Kafka on the Shore

  • #5
    Carl Sagan
    “If you wish to make an apple pie from scratch, you must first invent the universe.”
    Carl Sagan, Cosmos

  • #6
    Gabriel García Márquez
    “At that time Macondo was a village of twenty adobe houses, built on the bank of a river of clear water that ran along a bed of polished stones, which were white and enormous, like prehistoric eggs. The world was so recent that many things lacked names, and in order to indicate them it was necessary to point...”
    Gabriel García Márquez, One Hundred Years of Solitude

  • #7
    Don DeLillo
    “When birds look into houses, what impossible worlds they see.”
    Don DeLillo, The Body Artist

  • #8
    Roland Barthes
    “Am I in love? – yes, since I am waiting. The other one never waits. Sometimes I want to play the part of the one who doesn't wait; I try to busy myself elsewhere, to arrive late; but I always lose at this game. Whatever I do, I find myself there, with nothing to do, punctual, even ahead of time. The lover's fatal identity is precisely this: I am the one who waits.”
    Roland Barthes, A Lover's Discourse: Fragments

  • #9
    A.A. Milne
    “Rabbit's clever," said Pooh thoughtfully.
    "Yes," said Piglet, "Rabbit's clever."
    "And he has Brain."
    "Yes," said Piglet, "Rabbit has Brain."
    There was a long silence.
    "I suppose," said Pooh, "that that's why he never understands anything.”
    A.A. Milne, Winnie-the-Pooh

  • #10
    Susan Sontag
    “My library is an archive of longings.”
    Susan Sontag, As Consciousness is Harnessed to Flesh: Journals and Notebooks, 1964-1980

  • #11
    Mary Szybist
    “Days go by when I do nothing but underline the damp edge of myself.”
    Mary Szybist, Incarnadine: Poems

  • #12
    Jeanette Winterson
    “Mrs. Winterson didn't want her body resurrected because she had never, ever loved it, not even for a single minute of a single day But although she believed in End Time, she felt that the bodily resurrection was unscientific. When I asked her about this she told me she had seen Pathé newsreels of Hiroshima and Nagasaki, and she knew all about Robert Oppenheimer and the Manhattan Project. She had lived through the war. Her brother had been in the air force, my dad had been in the army -- it was their life, not their history. She said that after the atomic bomb you couldn't believe in mass any more, it was all about energy. 'This life is all mass. When we go, we'll be all energy, that's all there is to it.'

    I have thought about this a lot over the years. She had understood something infinitely complex and absolutely simple. For her, in the Book of Revelation, the 'things of the world' that would pass away, 'heaven and earth rolled up like a scroll,' were demonstrations of the inevitable movement from mass to energy. Her uncle, her beloved mother's beloved brother, had been a scientist. She was an intelligent woman, and somewhere in the middle of the insane theology and the brutal politics, the flamboyant depression and the refusal of books, of knowledge, of life, she had watched the atomic bomb go off and realised that the true nature of the world is energy not mass.

    But she never understood that energy could have been her own true nature while she was alive. She did not need to be trapped in mass.”
    Jeanette Winterson, Why Be Happy When You Could Be Normal?

  • #13
    Teju Cole
    “I had hoped for grace," I said, "not immortality"
    I wonder why so many people view sickness as a moral test. It has nothing to do with morals or grace. It's a physical test, and usually we lose.”
    Teju Cole, Open City

  • #14
    Elif Batuman
    “Ummiye is currently working on a screenplay called "Footless on Her Own Feet." It tells the story of a handicapped girl whose fifty-year-old mother pushes her to school every day in a wheelbarrow. Eventually, she wins a national drawing contest, making a super-realistic picture of herself in the wheelbarrow. With the prize money, she buys a wheelchair. Like the Arslankoy theatre, the girl's drawing uses artistic representation to change the thing represented. By drawing a truthful picture of the humiliating wheelbarrow, she transforms it into a dignified wheelchair-- much as a theatre, by representing the injustice of village women's life, might make that life more just. Nabokov once claimed that the inspiration for Lolita was an art work produced by an ape in the Jardin des Plantes: a drawing of the bars of its cage. It's a good metaphor for artistic production. What else do we ever draw besides the bars of our cage, or the wheelbarrow we rode in as crippled children? How else do cages get smashed? How else will we stand on our own feet?”
    Elif Batuman

  • #15
    Elif Batuman
    “There was a poem with that mood by Pasternak: “Don’t sleep, don’t sleep, artist.” It sounded better in Russian, because the word for “artist” had three syllables, it was an amphibrach, like “spaghetti,” or “appendix.” Don’t sleep, don’t sleep, gorilla, I thought as I went down the elevator to the subway platform.”
    Elif Batuman, The Idiot

  • #16
    Elif Batuman
    “Everyone reacted differently to being spoken to in a language they didn't understand. Katya got quiet and scared. Ivan leaned forward with an amused expression. Grisha narrowed his eyes and nodded in a manner suggesting the dawn of comprehension. Boris, a bearded doctoral student, rifled guiltily through his notes like someone having a nightmare that he was already supposed to speak Russian.”
    Elif Batuman, The Idiot

  • #17
    Elif Batuman
    “I would rather have talked to Ivan, the love interest, but somehow I didn’t get to decide. At the same time, I also felt that these superabundant personages weren’t irrelevant at all, but somehow the opposite, and that when Ivan had told me to make friends with the other kids, he had been telling me something important about the world, about how the fateful character in your life wasn’t the one who buried you in a rock, but the one who led you out to more people.”
    Elif Batuman, The Idiot

  • #18
    Peter Hessler
    “People with good memories are liable to be crushed by the weight of their suffering. Only those with bad memories, the fittest to survive, can live on. - Lu Xun”
    Peter Hessler, River Town: Two Years on the Yangtze

  • #19
    Eileen Chang
    “他現在知道精神與物質的界限不能分得這麼清。言語究竟沒有用。久久的握著手,就是較妥帖的安慰,因為會說話的人很少,真正有話說的人還要少。”
    Eileen Chang, Love in a Fallen City

  • #20
    Annie Dillard
    “There are 1,198,500,000 people alive now in China.
    To get a feel for what that means, simply take yourself - in all your singularity, importance, complexity, and love - and multiply by 1,198,500,000.
    See? Nothing to it.”
    Annie Dillard, For the Time Being: Essays

  • #21
    Anne Carson
    “Give me a world, you have taken the world I was.”
    Anne Carson

  • #22
    Anne Carson
    “I emphasize the distinction between brackets and no brackets because it will affect your reading experience, if you will allow it. Brackets are exciting. Even though you are approaching Sappho in translation, that is no reason you should miss the drama of trying to read a papyrus torn in half or riddled with holes or smaller than a postage stamp--brackets imply a free space of imaginal adventure.”
    Anne Carson, If Not, Winter: Fragments of Sappho

  • #23
    Lee Siegel
    “I'm writing a book on magic”, I explain, and I'm asked, “Real magic?” By real magic people mean miracles, thaumaturgical acts, and supernatural powers. “No”, I answer: “Conjuring tricks, not real magic”. Real magic, in other words, refers to the magic that is not real, while the magic that is real, that can actually be done, is not real magic.”
    Lee Siegel, Net of Magic: Wonders and Deceptions in India



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