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Read through the most famous quotes by topic #sir
The sight made her ache. How can I not touch you? she thought hopelessly, and then she was doing it, her fingers on his wrist. He didn't jump or even look at her, just stopped writing. Neither one of them moved, nothing moved, and the whole thing lasted three or four seconds at most, but when Pen took her hand away and started to breathe again, her chest hurt, as though she had been holding her breath for a very long time. ↗
I ignore people who need me and latch on to people who don't. I dive into every other world except my own just because I want something more glamorous than my real life. I do destructive shit so a stupid hypocritical fish will like me. I fall for fish instead of girls. ↗
We live, all of us, in sprung rhythm. Even in cities, folk stir without knowing it to the surge in the blood that is the surge and urgency of season. In being born, we have taken seisin of the natural world, and as ever, it is the land which owns us, not we, the land. Even in the countryside, we dwell suspended between the rhythms of earth and season, weather and sky, and those imposed by metropolitan clocks, at home and abroad. When does the year begin? No; ask rather, When does it not? For us – all of us – as much as for Mr Eliot, midwinter spring is its own season; for all of us, if we but see it, our world is as full of time-coulisses as was Thomas Mann’s. Countrymen know this, with the instinct they share with their beasts. Writers want to know it also, and to articulate what the countryman knows and cannot, perhaps, express to those who sense but do not know, immured in sad conurbations, rootless amidst Betjeman’s frightful vision of soot and stone, worker’s flats and communal canteens, where it is the boast of pride that a man doesn’t let the grass grow under his feet. As both countryman and writer, I have a curious relationship to time. ↗
#country-life #countryside #sir-john-betjeman #time #village-life
Hang on," Sadie said. She stomped right up to the throne. Ammit growled at her, but Sadie growled back, which confused the monster into silence. "What are you?" she demanded. "My dad? Osiris? Are you even alive?" Dad looked at Anubis. "What did I tell you about her? Fiercer than Ammit, I said." "You didn't need to tell me." Anubis's face was grave."I've learned to fear that sharp tongue." Sadie looked outraged. "excuse me? ↗
I could imagine it. I could remember it. But I couldn't see it again, and it occured to me that the voracious ambition of humans is never sated by dreams coming true, because there is always the thought that everything might be done better and again. ↗
As inexplicable as the accidents that set it off, our imagination is a crucial privilege. I've tried my whole life simply to accept the images that present themselves to me without trying to analyze them. I remember when we were shooting That Obscure Object of Desire in Seville and I suddenly found myself telling Fernando Rey, at the end of a scene, to pick up a big sack filled with tools lying on a bench, sling it over his shoulder, and walk away. The action was completely irrational, yet it seemed absolutely right to me. Still, I was worried about it, so I shot two versions of the scene: one with the sack, one without. But during the rushes the following day, the whole crew agreed that the scene was much better with the sack. Why? I can't explain it, and I don't enjoy rummaging around in the cliches of psychoanalysis. ↗
Desire is like fog on a bathroom mirror -- its presence incites you to wipe the mirror, and see yourself clearly again. ↗
