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Read through the most famous quotes by topic #wallace
The young woman almost lost control of the emotions that flooded her. "...I'm terrified of the king!" "Why," Esther asked trying to encourage the girl to talk about it. "Why shouldn't I be?" Artystone looked almost defiant. "He is the king, He can order me killed if he wishes! I will never be allowed to return home. I must remain her the rest of my life! Unless I am chosen queen -which is unlikely- I will never be a mother or grandmother. How can you bear it, Esther?" "Well...my God is sovereign, which means all that is happening is in His control. Even though I do not have the answers, He does. I can rest and have peace knowing that. ↗
God never wastes an experience or trial in our lives. Good or bad, easy or painful, he is able to use everything in our lives to grow us and make us more like him. ↗
Little Joe was still behind him. Eli could feel it. He wanted to look back, but he couldn’t. The tears were too close. If he were Fancy, he’d turn around and kick and buck and moo and do just about anything to keep his calf near. But Eli wasn’t Fancy; he was a farmer. ↗
#animals #author-sandra-neil-wallace #coming-of-age #cows #farm-life
When we as writers take our fears, beliefs, imaginations, and research and offer them up for the Lord to use, we are changed, and our fiction carries the power of truth and the fingerprints of our God on every page. ↗
In a way, what Tarantino has done with the French New Wave and with David Lynch is what Pat Boone did with rhythm and blues: He's found (ingeniously) a way to take what is ragged and distinctive and menacing about their work and homogenize it, churn it until it's smooth and cool and hygienic enough for mass consumption. Reservoir Dogs, for example, with its comically banal lunch chatter, creepily otiose code names, and intrusive soundtrack of campy pop from decades past, is a Lynch movie made commercial, i.e., fast, linear, and with what was idiosyncratically surreal now made fashionably (i.e., "hiply") surreal [...] D. Lynch is an exponentially better filmmaker than Q. Tarantino. For, unlike Tarantino, D. Lynch knows that an act of violence in an American film has, through repetition and desensitization, lost the ability to refer to anything but itself. A better way to put what I just tried to say: Quentin Tarantino is interested in watching somebody's ear getting cut off; David Lynch is interested in the ear. ↗
#david-foster-wallace #david-lynch #film #muzak #quentin-tarantino
There's good self-consciousness, and then there's toxic, paralyzing, raped-by-psychic-Bedouins self-consciousness. ↗
This idea was also brought out very clearly by Wallace, who emphasized that apparently reasonable activities of man might very well have developed without an actual application of reasoning. ↗
After I started getting criticism for doing 'Big Brother,' someone told me that Hugh Downs used to host 'Concentration' and Mike Wallace used to do 'The Big Surprise.' I thought, Huh, maybe that door isn't sealed shut if I want to do '60 Minutes' one day. ↗
(She) says that she's finding it especially hard to take when these earnest ravaged folks at the lectern say they're `Here But For the Grace of God,' except that's not the strange thing she says, because when Gately nods hard and starts to interject about `It was the same for--' and wants to launch into a fairly standard Boston AA agnostic-soothing riff about the `God' in the slogan being just shorthand for a totally subjective and up-to-you `Higher Power' and AA being merely spiritual instead of dogmatically religious, a sort of benign anarchy of subjective spirit, Joelle cuts off his interjection and says that but that her trouble with it is that `But For the Grace of God' is a subjunctive, a counterfactual, she says, and can make sense only when introducing a conditional clause, like e.g. `But For the Grace of God I would have died on Molly Notkin's bathroom floor,' so that an indicative transposition like `I'm here But For the Grace of God' is, she says, literally senseless, and regardless of whether she hears it or not it's meaningless, and that the foamy enthusiasm with which these folks can say what in fact means nothing at all makes her want to put her head in a Radarange at the thought that Substances have brought her to the sort of pass where this is the sort of language she has to have Blind Faith in. ↗
