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Read through the most famous quotes by topic #raymond
Big production, no story, as they say around the movie lots. I guess Sylvia is happy enough, though not necessarily with me. In our circle that's not too important. There's always something to do if you don't have to work or consider the cost. It's no real fun, but the rich don't know that. They never had any. They never want anything very hard except maybe somebody else's wife and that's a pretty pale desire compared to the way a plumber's wife wants new curtains for the living room. ↗
They don’t understand that religion and science are there to serve different purposes. We need science to understand how everything on this planet and beyond works – us, nature, everything we see around us. That’s fact – no one with a working brain can question that. But we also need religion. Not for ridiculous counter-theories about things that science can prove. We need it for something else, to fill a different kind of need. The need for meaning. It’s a basic need we have, as humans. And it’s a need that’s beyond the realm of science. Your scientists don’t understand that it’s a need they can’t fulfill no matter how many Hadron colliders and Hubble telescopes they build- and your preachers don’[t understand that their job is to help you discover a personal, inner sense of meaning and not behave like a bunch of zealots intent on converting the rest of the planet to their rigid, literalist view of how everyone should live their lives. ↗
#philosophy #raymond-khoury #religion #science-and-religion #nature
After moving his family from Yakima to Paradise, California, in 1958, he enrolled at Chico State College. There, he began an apprenticeship under the soon-to-be-famous John Gardner, the first "real writer" he had ever met. "He offered me the key to his office," Carver recalled in his preface to Gardner’s On Becoming a Novelist (1983). "I see that gift now as a turning point." In addition, Gardner gave his student "close, line-by-line criticism" and taught him a set of values that was "not negotiable." Among these values were convictions that Carver held until his death. Like Gardner, whose On Moral Fiction (1978) decried the "nihilism" of postmodern formalism, Carver maintained that great literature is life-connected, life-affirming, and life-changing. "In the best fiction," he wrote "the central character, the hero or heroine, is also the ‘moved’ character, the one to whom something happens in the story that makes a difference. Something happens that changes the way that character looks at himself and hence the world." Through the 1960s and 1970s he steered wide of the metafictional "funhouse" erected by Barth, Barthelme and Company, concentrating instead on what he called "those basics of old-fashioned storytelling: plot, character, and action." Like Gardner and Chekhov, Carver declared himself a humanist. "Art is not self-expression," he insisted, "it’s communication. ↗
Phillip look into Ray's eyes. He saw compassion and hope. And he saw himself mirrored back, bleeding in a dirty gutter on a street where life was worth less than a dime bag. Sick, tired, petrified, Phillip dropped his head into his hands. "What's the point?" "You're the point, son." Ray ran his hand over Phillip's hair. "You're the point. ↗
