Introduction Quotes

Quotes tagged as "introduction" Showing 1-30 of 98
Cassandra Clare
“My name is Herondale," the boy said cheerfully. "William Herondale, but everyone calls me Will. Is this really your room? Not very nice, is it?" He wandered toward the window, pausing to examine the stacks of books on her bedside table, and then the bed itself. He waved a hand at the ropes. "Do you often sleep tied to the bed?”
Cassandra Clare, Clockwork Angel

Rick Riordan
“My name is Percy Jackson.
I'm twelve years old. Until a few months ago, I was a boarding student at Yancy Academy, a private school for troubled kids in upstate New York.
Am I a troubled kid?
Yeah. You could say that.”
Rick Riordan, The Lightning Thief

“My name is Katniss Everdeen. I am seventeen years old. My home is District 12. I was in the Hunger Games. I escaped. The Capitol hates me........”
Suzanne Collins, Mockingjay

Arthur Conan Doyle
“My name is Sherlock Holmes. It is my business to know what other people do not know.”
Arthur Conan Doyle, The Adventure of the Blue Carbuncle - a Sherlock Holmes Short Story

Orson Scott Card
“Because never in my entire childhood did I feel like a child. I felt like a person all along―the same person that I am today.”
Orson Scott Card, Ender's Game

Victor Hugo
“So long as there shall exist, by reason of law and custom, a social condemnation which, in the midst of civilization, artificially creates a hell on earth, and complicates with human fatality a destiny that is divine; so long as the three problems of the century - the degradation of man by the exploitation of his labour, the ruin of women by starvation and the atrophy of childhood by physical and spiritual night are not solved; so long as, in certain regions, social asphyxia shall be possible; in other words and from a still broader point of view, so long as ignorance and misery remain on earth, there should be a need for books such as this.”
Victor Hugo, Les Misérables

Herman Melville
“Call me Ishmael.”
Herman Melville, Moby-Dick or, the Whale

Jeaniene Frost
“Kitten, this is my best mate, Charles, but you can call him Spade. Charles, this is Cat, the woman I’ve been telling you about. You can see for yourself that everything I’ve said is…an understatement.”
Jeaniene Frost, Halfway to the Grave

Knut Hamsun
“Truth is neither ojectivity nor the balanced view; truth is a selfless subjectivity.”
Knut Hamsun, Hunger

Sarah J. Maas
“Maybe I'd always been broken and dark inside. Maybe someone who've been born whole and good would have put down the ash dagger and embraced death rather than what lay before me.”
Sarah J. Maas, A Court of Mist and Fury

Victor Hugo
“So long as there shall exist, by reason of law and custom, a social condemnation, which, in the face of civilisation, artificially creates hells on earth, and complicates a destiny that is divine, with human fatality; so long as the three problems of the age — the degradation of man by poverty, the ruin of woman by starvation, and the dwarfing of childhood by physical and spiritual night — are not solved; so long as, in certain regions, social asphyxia shall be possible; in other words, and from a yet more extended point of view, so long as ignorance and misery remain on earth, books like this cannot be useless.”
Victor Hugo, Les Misérables

Paul Auster
“In the end, the art of hunger can be described as an existential art. It is a way of looking death in the face, and by death I mean death as we live it today: without God, without hope of salvation. Death as the abrupt and absurd end of life”
Paul Auster

Ralph Waldo Emerson
“I am the owner of the sphere,
Of the seven stars and the solar year,
of Caesar's hand, and Plato's brain,
Of Lord Christ's heart, and Shakespeare's strain.”
Ralph Waldo Emerson, History

Anthony Burgess
“The 21st chapter gives the novel the quality of genuine fiction, an art founded on the principle that human beings change.

----- "A Clockwork Orange Resucked" intro to first full American version 1986”
Anthony Burgess, A Clockwork Orange

“We can say that Faustus makes a choice, and that he is responsible for his choice, but there is in the play a suggestion—sometimes explicit, sometimes only dimly implicit—that Faustus comes to destruction not merely through his own actions but through the actions of a hostile cosmos that entraps him. In this sense, too, there is something of Everyman in Faustus. The story of Adam, for instance, insists on Adam's culpability; Adam, like Faustus, made himself, rather than God, the center of his existence. And yet, despite the traditional expositions, one cannot entirely suppress the commonsense response that if the Creator knew Adam would fall, the Creator rather than Adam is responsible for the fall; Adam ought to have been created of better stuff.”
Sylvan Barnet, Dr. Faustus

Anne Carson
“It is the task of a lifetime. You can never know enough, never work enough, never use the infinitives and participles oddly enough, never impede the movement harshly enough, never leave the mind quickly enough.”
Anne Carson, Plainwater: Essays and Poetry

Criss Jami
“I'd rather strive for the kind of interview where instead of me asking to introduce myself to society, society asks me to introduce myself to society.”
Criss Jami, Killosophy

Caitlín R. Kiernan
“And it means snapshots, because that's what all stories I write come down to; each is a snapshot of who I was during however many days and weeks it was written. A fictional reflection of my mind fossilized, set in paper and ink, instead of stone. Memorialized, for better or worse. This is who I was, and this, and this, and this, and that, and most times I look back and wince. I'm rarely kind to who I was. But other times, looking back is bittersweet. Sometimes, I'm even grateful to the me of then who left a snapshot for the me of now. Maybe I should let go and join those who pretend the past is past, but it's a falsehood I've never learned to spin.”
Caitlín R. Kiernan, Two Worlds and in Between: The Best of Caitlin R. Kiernan, Volume One

Alexis de Tocqueville
“The poor man retains the prejudices of his forefathers without their faith, and their ignorance without their virtues; he has adopted the doctrine of self-interest as the rule of his actions, without understanding the science which puts it to use; and his selfishness is no less blind than was formerly his devotedness to others. If society is tranquil, it is not because it is conscious of its strength and its well-being, but because it fears its weakness and its infirmities; a single effort may cost it its life. Everybody feels the evil, but no one has courage or energy enough to seek the cure. The desires, the repinings, the sorrows, and the joys of the present time lead to no visible or permanent result, like the passions of old men, which terminate in impotence.”
Alexis de Tocqueville, Democracy in America

Ray Bradbury
“During the next few years I wrote a series of Martian pensées, Shakespearean "asides," wandering thoughts, long night visions, predawn half-dreams. The French, like St. John Perce, practice this to perfection. It is the half-poem, half-prose paragraph that runs as little as one hundred words or as long as a full page on any subject, summoned by weather, time, architectural facade, fine wine, good victuals, a view of the sea, quick sunsets, or a long sunrise. From these elements one upchucks rare hairballs or a maundering Hamlet-like soliloquy.”
Ray Bradbury

Leopoldo Marechal
“Temperee, riante, (comme le sont celles d'automne dans la tres gracieuse ville de Buenos Aires) resplendissait la matinee de ce 28 avril: dix heures venait de sonner aux horloges et, a cet instant, eveillee, gesticulant sous le soleil matinal, la Grande Capitale du Sud etait un epi d'hommes qui se disputaient a grands cris la possession du jour et de la terre.”
Leopoldo Marechal, Adán Buenosayres

George Bernard Shaw
“If Joan was mad, all Christendom was mad too; for people who believe devoutly in the existence of celestial personages are every whit as mad as the people who think they see them. Luther, when he threw his inkhorn at the devil, was no more mad than any other Augustinian monk: he had a more vivid imagination, and hd perhaps eaten and slept less: that was all.”
Bernard Shaw, Saint Joan

Brady Udall
“If I could tell you only one thing about my life it would be this: when I was seven years old the mailman ran over my had. As formative events go, nothing else comes close; my careening, zigzag existence, my wounded brain and faith in God, my collisions with joy and affliction, all of it has come, in one way or another, out of that moment on a summer morning when the left rear tire of a United States postal jeep ground my tiny head into the hot gravel of the San Carlos Apache Indian reservation.”
Brady Udall

Caity Alice
“A collection of sundry thoughts and opinions nobody asked for
(may contain some tough love)”
Caity Alice, Gentle Revolution

“Within the drama the Promethean Ahab challenges the laws of creation and dares to steal divine thunder in order to shape it to his ends, subordinating passive Ishmael to his will. But Ishmael alone has escaped to tell the tale and in that telling is the author of a new creation, subordinating Ahab to his purpose.”
Larzer Ziff, Moby-Dick or, the Whale

Eudora Welty
“If reality is what looms, love is what pervades...”
Eudora Welty, To the Lighthouse

“The introduction of your true self is a recipe of importance; you never know who will love your ingredients.”
Jesus Apolinaris

“Chapter 1, “Esoteric Antiquarianism,” situates Egyptian Oedipus in its most important literary contexts: Renaissance Egyptology, including philosophical and archeological traditions, and early modern scholarship on paganism and mythology. It argues that Kircher’s hieroglyphic studies are better understood as an antiquarian rather than philosophical enterprise, and it shows how much he shared with other seventeenth-century scholars who used symbolism and allegory to explain ancient imagery. The next two chapters chronicle the evolution of Kircher’s hieroglyphic studies, including his pioneering publications on Coptic. Chapter 2, “How to Get Ahead in the Republic of Letters,” treats the period from 1632 until 1637 and tells the story of young Kircher’s decisive encounter with the arch-antiquary Peiresc, which revolved around the study of Arabic and Coptic manuscripts. Chapter 3, “Oedipus in Rome,” continues the narrative until 1655, emphasizing the networks and institutions, especially in Rome, that were essential to Kircher’s enterprise. Using correspondence and archival documents, this pair of chapters reconstructs the social world in which Kircher’s studies were conceived, executed, and consumed, showing how he forged his career by establishing a reputation as an Oriental philologist.

The next four chapters examine Egyptian Oedipus and Pamphilian Obelisk through a series of thematic case studies. Chapter 4, “Ancient Theology and the Antiquarian,” shows in detail how Kircher turned Renaissance occult philosophy, especially the doctrine of the prisca theologia, into a historical framework for explaining antiquities. Chapter 5, “The Discovery of Oriental Antiquity,” looks at his use of Oriental sources, focusing on Arabic texts related to Egypt and Hebrew kabbalistic literature. It provides an in-depth look at the modus operandi behind Kircher’s imposing edifice of erudition, which combined bogus and genuine learning. Chapter 6, “Erudition and Censorship,” draws on archival evidence to document how the pressures of ecclesiastical censorship shaped Kircher’s hieroglyphic studies. Readers curious about how Kircher actually produced his astonishing translations of hieroglyphic inscriptions will find a detailed discussion in chapter 7, “Symbolic Wisdom in an Age of Criticism,” which also examines his desperate effort to defend their reliability. This chapter brings into sharp focus the central irony of Kircher’s project: his unyielding antiquarian passion to explain hieroglyphic inscriptions and discover new historical sources led him to disregard the critical standards that defined erudite scholarship at its best. The book’s final chapter, “Oedipus at Large,” examines the reception of Kircher’s hieroglyphic studies through the eighteenth century in relation to changing ideas about the history of civilization.”
Daniel Stolzenberg, Egyptian Oedipus: Athanasius Kircher and the Secrets of Antiquity

Stanley Wheeler
“Unfortunately, I could tell that she was not the kind of girl to introduce herself with a kiss.”
Stanley Wheeler, Smoke

Ray Bradbury
“Y para eso escribo, escribo, escribo, al mediodía o a las tres de la madrugada. Para no estar muerto.”
Ray Bradbury, The Illustrated Man

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