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Read through the most famous quotes by topic #tale
Maybe Laura’s real problem came in admitting this: there was nothing new under the sun. To write a story would be, somehow deep down, to embrace her limits, to admit that, indeed, she would someday die—if not of a worm or a ceiling, then of something else. The very nature of a story admitted this reality. To be a writer was to say, yes, I am just another Murasaki, and it is quite possible that no one will remember my name. ↗
Fairy tales do not tell children the dragons exist. Children already know that dragons exist. Fairy tales tell children the dragons can be killed. ↗
The lamb baa-ed vigorously as Mary dragged it into the manicure room, and Zel winced. She really should insist Julie come work, She could use the help, plus it would mean extra mother-daughter time--and, Zel thought wryly, I won't have to find a spare tower in the suburbs. Closing the appointment book, Zel went to finish trimming Linda's hair. "Did I hear a sheep out there?" Linda asked. "Sick dog," Zel said. "Now, bend your head down." Linda obeyed and Zel ran her fingers through the back of her hair to check for evenness. All she needed to do was think of a way to make Julie come without Julie immediately assuming her mother was trying to ruin her life. Not an easy task. ↗
Fairy tales for adult readers remained popular throughout Europe well into the 19th century — particularly in Germany, where the Brothers Grimm published their massive collection of German fairy tales (revised and edited to reflect the Brothers’ patriotic and patriarchal ideals), providing inpiration for novelists, poets, and playrights among the German Romantics. Recently, fairy tale scholars have re–discovered the enormous body of work produced by women writers associated with the German Romantics: Grisela von Arnim, Sophie Tieck Bernhardi, Karoline von Günderrode, Julie Berger, and Sophie Albrecht, to name just a few. ↗
#fairy-tales-for-adults #feminism #germany #magical-stories #stories
We shouldn't be here at all, if we'd known more about it before we started. But I suppose it's often that way. The brave things in the old tales and songs, Mr. Frodo: adventures, as I used to call them. I used to think that they were things the wonderful folk of the stories went out and looked for, because they wanted them, because they were exciting and life was a bit dull, a kind of a sport, as you might say. But that's not the way of it with the tales that really mattered, or the ones that stay in the mind. Folk seem to have been just landed in them, usually — their paths were laid that way, as you put it. But I expect they had lots of chances, like us, of turning back, only they didn't. And if they had, we shouldn't know, because they'd have been forgotten. We hear about those as just went on — and not all to a good end, mind you; at least not to what folk inside a story and not outside it call a good end. You know, coming home, and finding things all right, though not quite the same — like old Mr Bilbo. But those aren't always the best tales to hear, though they may be the best tales to get landed in! I wonder what sort of a tale we've fallen into? ↗
A recurrent question about photography is how much self expression it allows the photographer. There are two standard positions, each corresponding to a different location oh photographic skill. The opposition is neatly summed up in Bioy Casares’s novel The Adventures of a Photographer in La Plata (1989). The hero Nicolasito Almanza declares: ‘I am convinced that all of photography depends on the moment we press the release […] I believe that you’re a photographer if you know exactly when to press the release.’ In making this declaration he is responding to the opinion expressed by Mr Gruter, owner of a photographic laboratory: ‘[…] sometimes I wonder if the true work of the photographer doesn’t begin in the dark room, amid the trays and the enlarger. ↗
