All Angles Quotes

American women. Why do you all want to be nearly invisible? Why not have a physical presence in the world? Women should have curves, not angles. ...One should never confuse fashionable with beautiful. ...Eat. Be happy to have curves. A presence.

A man could be a lover and defender of the wilderness without ever in his lifetime leaving the boundaries of asphalt, powerlines, and right-angled surfaces. We need wilderness whether or not we ever set foot in it. We need a refuge even though we may never need to set foot in it. We need the possibility of escape as surely as we need hope; without it the life of the cities would drive all men into crime or drugs or psychoanalysis.

For several years, I had been bored. Not a whining, restless child's boredom (although I was not above that) but a dense, blanketing malaise. It seemed to me that there was nothing new to be discovered ever again. Our society was utterly, ruinously derivative (although the word derivative as a criticism is itself derivative). We were the first human beings who would never see anything for the first time. We stare at the wonders of the world, dull-eyed, underwhelmed. Mona Lisa, the Pyramids, the Empire State Building. Jungle animals on attack, ancient icebergs collapsing, volcanoes erupting. I can't recall a single amazing thing I have seen firsthand that I didn't immediately reference to a movie or TV show. A fucking commercial. You know the awful singsong of the blasé: Seeeen it. I've literally seen it all, and the worst thing, the thing that makes me want to blow my brains out, is: The secondhand experience is always better. The image is crisper, the view is keener, the camera angle and the soundtrack manipulate my emotions in a way reality can't anymore. I don't know that we are actually human at this point, those of us who are like most of us, who grew up with TV and movies and now the Internet. If we are betrayed, we know the words to say; when a loved one dies, we know the words to say. If we want to play the stud or the smart-ass or the fool, we know the words to say. We are all working from the same dog-eared script. It's a very difficult era in which to be a person, just a real, actual person, instead of a collection of personality traits selected from an endless Automat of characters. And if all of us are play-acting, there can be no such thing as a soul mate, because we don't have genuine souls. It had gotten to the point where it seemed like nothing matters, because I'm not a real person and neither is anyone else. I would have done anything to feel real again.

Here's a news flash for the ladies: for every one of you who thinks we all want a girl like Angelina Jolie, all skinny elbows and angles, the truth is, we'd rather curl up with someone like Charlotte - a woman who's soft when a guy wraps his arms around her; a woman who might have a smear of flour on her shirt the whole day and not notice or care, not even when she goes out to meet with the PTA; a woman who doesn't feel like an exotic vacation but is the home we can't wait to come back to.

I know we promised Haymitch, we'd do exactly what they said, but I don't think he considered this angle.' 'Where is Haymitch, anyway? Isn't he supposed to protect us from this sort of thing?' says Peeta. 'With all that alcohol in him, it's probably not advisable to have him around an open flame,' I say.

Callan sucked in a breath. As a sniper, he’d been trained by the Marines to know and recognize moments.  Moments when all the training—his focused mind, muscle memory, weapon knowledge . . .  When all the preparation—target reconnaissance, angle of attack, position scouting . . .  When all the setup—hidden amid the terrain, barrel aimed, trajectory known . . .  When everything came together in one crucial moment—when the sniper squeezed the trigger and took his shot.

What did Adam's fortune cookie say?" "Mmm." Olive made a show to look at the strip. "Not much. Just 'Holden Rodrigues, Ph.D., is a loser.'" Malcolm sped up just as Holden flipped her off, making her burst into laughter. "What does it really say?" Adam asked when they were finally alone. Olive handed him the crumpled paper and remained silent as he angled it to read it in the lamplight. She wasn't surprised when she saw a muscle jump in his jaw, or when he slid the fortune into the pocket of his jeans. She knew what it said, after all. You can fall in love: someone will catch you.

In theory we understand people, but in practice we can't put up with them, I thought, deal with them for the most part reluctantly and always treat them from our point of view. We should observe and treat people not from our point of view but from all angles, I thought, associate with them in such a way that we can say we associate with them so to speak in a completely unbiased way, which however isn't possible, since we actually are always biased against everybody.

Or perhaps is is that time doesn't heal wounds at all, perhaps that is the biggest lie of them all, and instead what happens is that each wound penetrates the body deeper and deeper until one day you find that the sheer geography of your bones - the angle of your hips, the sharpness of your shoulders, as well as the luster of your eyes, the texture of your skin, the openness of your smile - has collapsed under the weight of your griefs.

Chapter 1. He adored New York City. He idolized it all out of proportion...no, make that: he - he romanticized it all out of proportion. Yeah. To him, no matter what the season was, this was still a town that existed in black and white and pulsated to the great tunes of George Gershwin.' Uh, no let me start this over. 'Chapter 1. He was too romantic about Manhattan, as he was about everything else. He thrived on the hustle bustle of the crowds and the traffic. To him, New York meant beautiful women and street-smart guys who seemed to know all the angles...'. Ah, corny, too corny for my taste. Can we ... can we try and make it more profound? 'Chapter 1. He adored New York City. For him, it was a metaphor for the decay of contemporary culture. The same lack of individual integrity that caused so many people to take the easy way out was rapidly turning the town of his dreams in...' No, that's going to be too preachy. I mean, you know, let's face it, I want to sell some books here. 'Chapter 1. He adored New York City, although to him it was a metaphor for the decay of contemporary culture. How hard it was to exist in a society desensitized by drugs, loud music, television, crime, garbage...' Too angry, I don't want to be angry. 'Chapter 1. He was as tough and romantic as the city he loved. Behind his black-rimmed glasses was the coiled sexual power of a jungle cat.' I love this. 'New York was his town, and it always would be.

On bad days I talk to Death constantly, not about suicide because honestly that's not dramatic enough. Most of us love the stage and suicide is definitely your last performance and being addicted to the stage, suicide was never an option - plus people get to look you over and stare at your fatty bits and you can't cross your legs to give that flattering thigh angle and that's depressing. So we talk. She says things no one else seems to come up with, like let's have a hotdog and then it's like nothing's impossible. She told me once there is a part of her in everyone, though Neil believes I'm more Delirium than Tori, and Death taught me to accept that, you know, wear your butterflies with pride. And when I do accept that, I know Death is somewhere inside of me. She was the kind of girl all the girls wanted to be, I believe, because of her acceptance of "what is." She keeps reminding me there is change in the "what is" but change cannot be made till you accept the "what is.

We can stick anything into the fog and make it look like a ghost but tonight let us not become tragedies. We are not funeral homes with propane tanks in our windows, lookin’ like cemeteries. Cemeteries are just the Earth’s way of not letting go. Let go. Tonight let’s turn our silly wrists so far backwards the razor blades in our pencil tips can’t get a good angle on all that beauty inside. Step into this with your airplane parts. Move forward and repeat after me with your heart: “I no longer need you to fuck me as hard as I hated myself.” Make love to me like you know I am better than the worst thing I ever did. Go slow. I’m new to this. But I have seen nearly every city from a rooftop without jumping. I have realized that the moon did not have to be full for us to love it, that we are not tragedies stranded here beneath it, that if my heart really broke every time I fell from love I’d be able to offer you confetti by now. But hearts don’t break, y’all, they bruise and get better. We were never tragedies. We were emergencies. You call 9 – 1 – 1. Tell them I’m having a fantastic time.

With a deep regret, I wiggled out from under him despite his sleepy protests and grabbed articles of clothing as I tiptoed to his door. What amazing willpower I had. What fantastic self-control. I'd come over for one reason, and everything but that reason seemed to be resolved. When I reached the door, I saw what looked like another note. But this was his door, not mine. I peeled it off, then angled it until I could read it by the light of the fire. Is that all you've got? With a smile spreading slowly across my face, I dropped everything I'd just picked up and went back for more.

Forget trying to pass for normal. Follow your geekdom. Embrace nerditude. In the immortal words of Lafcadio Hearn, a geek of incredible obscurity whose work is still in print after a hundred years, “Woo the muse of the odd.” You may be a geek. You may have geek written all over you. You should aim to be one geek they'll never forget. Don't aim to be civilized. Don’t hope that straight people will keep you on as some sort of pet. To hell with them. You should fully realize what society has made of you and take a terrible revenge. Get weird. Get way weird. Get dangerously weird. Get sophisticatedly, thoroughly weird, and don't do it halfway. Put every ounce of horsepower you have behind it. Don't become a well-rounded person. Well-rounded people are smooth and dull. Become a thoroughly spiky person. Grow spikes from every angle. Stick in their throats like a pufferfish.

There are only two ways to influence human behavior: you can manipulate it or you can inspire it. Very few people or companies can clearly articulate WHY they do WHAT they do. By WHY I mean your purpose, cause or belief - WHY does your company exist? WHY do you get out of bed every morning? And WHY should anyone care? People don’t buy WHAT you do, they buy WHY you do it. We are drawn to leaders and organizations that are good at communicating what they believe. Their ability to make us feel like we belong, to make us feel special, safe and not alone is part of what gives them the ability to inspire us. For values or guiding principles to be truly effective they have to be verbs. It’s not “integrity,” it’s “always do the right thing.” It’s not “innovation,” it’s “look at the problem from a different angle.” Articulating our values as verbs gives us a clear idea - we have a clear idea of how to act in any situation. Happy employees ensure happy customers. And happy customers ensure happy shareholders—in that order. Leading is not the same as being the leader. Being the leader means you hold the highest rank, either by earning it, good fortune or navigating internal politics. Leading, however, means that others willingly follow you—not because they have to, not because they are paid to, but because they want to. You don’t hire for skills, you hire for attitude. You can always teach skills. Great companies don’t hire skilled people and motivate them, they hire already motivated people and inspire them. People are either motivated or they are not. Unless you give motivated people something to believe in, something bigger than their job to work toward, they will motivate themselves to find a new job and you’ll be stuck with whoever’s left. Trust is maintained when values and beliefs are actively managed. If companies do not actively work to keep clarity, discipline and consistency in balance, then trust starts to break down. All organizations start with WHY, but only the great ones keep their WHY clear year after year.

I can't recall a single amazing thing I have seen first hand that I didn't immediately reference to amp is of a TV show. You know the awful singsong the blasé: Seeeen it. I've literally seen it all, and the worst thing, the thing that makes me want to blow my brains out, is: The secondhand experience is always better. The image is crisper, the view is keener, the camera angle and soundtrack manipulate my emotions in a way reality can't anymore. I don't know that we are actually human at this point, those of us who are like most of us, who grew up with TV and movies and now the Internet. If we are betrayed, we know the words to say; when a loved one dies, we know the words to say. If we want to play the stud or the smart-ass or the fool, we know the words to say. We are all working from the same dog-eared script.

I KNOW THE WAY YOU CAN GET I know the way you can get When you have not had a drink of Love: Your face hardens, Your sweet muscles cramp. Children become concerned About a strange look that appears in your eyes Which even begins to worry your own mirror And nose. Squirrels and birds sense your sadness And call an important conference in a tall tree. They decide which secret code to chant To help your mind and soul. Even angels fear that brand of madness That arrays itself against the world And throws sharp stones and spears into The innocent And into one's self. O I know the way you can get If you have not been drinking Love: You might rip apart Every sentence your friends and teachers say, Looking for hidden clauses. You might weigh every word on a scale Like a dead fish. You might pull out a ruler to measure From every angle in your darkness The beautiful dimensions of a heart you once Trusted. I know the way you can get If you have not had a drink from Love's Hands. That is why all the Great Ones speak of The vital need To keep remembering God, So you will come to know and see Him As being so Playful And Wanting, Just Wanting to help. That is why Hafiz says: Bring your cup near me. For all I care about Is quenching your thirst for freedom! All a Sane man can ever care about Is giving Love!

The first thing you notice about New Orleans are the burying grounds - the cemeteries - and they're a cold proposition, one of the best things there are here. Going by, you try to be as quiet as possible, better to let them sleep. Greek, Roman, sepulchres- palatial mausoleums made to order, phantomesque, signs and symbols of hidden decay - ghosts of women and men who have sinned and who've died and are now living in tombs. The past doesn't pass away so quickly here. You could be dead for a long time. The ghosts race towards the light, you can almost hear the heavy breathing spirits, all determined to get somewhere. New Orleans, unlike a lot of those places you go back to and that don't have the magic anymore, still has got it. Night can swallow you up, yet none of it touches you. Around any corner, there's a promise of something daring and ideal and things are just getting going. There's something obscenely joyful behind every door, either that or somebody crying with their head in their hands. A lazy rhythm looms in the dreamy air and the atmosphere pulsates with bygone duels, past-life romance, comrades requesting comrades to aid them in some way. You can't see it, but you know it's here. Somebody is always sinking. Everyone seems to be from some very old Southern families. Either that or a foreigner. I like the way it is. There are a lot of places I like, but I like New Orleans better. There's a thousand different angles at any moment. At any time you could run into a ritual honoring some vaguely known queen. Bluebloods, titled persons like crazy drunks, lean weakly against the walls and drag themselves through the gutter. Even they seem to have insights you might want to listen to. No action seems inappropriate here. The city is one very long poem. Gardens full of pansies, pink petunias, opiates. Flower-bedecked shrines, white myrtles, bougainvillea and purple oleander stimulate your senses, make you feel cool and clear inside. Everything in New Orleans is a good idea. Bijou temple-type cottages and lyric cathedrals side by side. Houses and mansions, structures of wild grace. Italianate, Gothic, Romanesque, Greek Revival standing in a long line in the rain. Roman Catholic art. Sweeping front porches, turrets, cast-iron balconies, colonnades- 30-foot columns, gloriously beautiful- double pitched roofs, all the architecture of the whole wide world and it doesn't move. All that and a town square where public executions took place. In New Orleans you could almost see other dimensions. There's only one day at a time here, then it's tonight and then tomorrow will be today again. Chronic melancholia hanging from the trees. You never get tired of it. After a while you start to feel like a ghost from one of the tombs, like you're in a wax museum below crimson clouds. Spirit empire. Wealthy empire. One of Napoleon's generals, Lallemaud, was said to have come here to check it out, looking for a place for his commander to seek refuge after Waterloo. He scouted around and left, said that here the devil is damned, just like everybody else, only worse. The devil comes here and sighs. New Orleans. Exquisite, old-fashioned. A great place to live vicariously. Nothing makes any difference and you never feel hurt, a great place to really hit on things. Somebody puts something in front of you here and you might as well drink it. Great place to be intimate or do nothing. A place to come and hope you'll get smart - to feed pigeons looking for handouts

To make matters worse, everyone she talks to has a different opinion about the nature of his problem and what she should do about it. Her clergyperson may tell her, “Love heals all difficulties. Give him your heart fully, and he will find the spirit of God.” Her therapist speaks a different language, saying, “He triggers strong reactions in you because he reminds you of your father, and you set things off in him because of his relationship with his mother. You each need to work on not pushing each other’s buttons.” A recovering alcoholic friend tells her, “He’s a rage addict. He controls you because he is terrified of his own fears. You need to get him into a twelve-step program.” Her brother may say to her, “He’s a good guy. I know he loses his temper with you sometimes—he does have a short fuse—but you’re no prize yourself with that mouth of yours. You two need to work it out, for the good of the children.” And then, to crown her increasing confusion, she may hear from her mother, or her child’s schoolteacher, or her best friend: “He’s mean and crazy, and he’ll never change. All he wants is to hurt you. Leave him now before he does something even worse.” All of these people are trying to help, and they are all talking about the same abuser. But he looks different from each angle of view.

On the back part of the step, toward the right, I saw a small iridescent sphere of almost unbearable brilliance. At first I thought it was revolving; then I realised that this movement was an illusion created by the dizzying world it bounded. The Aleph's diameter was probably little more than an inch, but all space was there, actual and undiminished. Each thing (a mirror's face, let us say) was infinite things, since I distinctly saw it from every angle of the universe. I saw the teeming sea; I saw daybreak and nightfall; I saw the multitudes of America; I saw a silvery cobweb in the center of a black pyramid; I saw a splintered labyrinth (it was London); I saw, close up, unending eyes watching themselves in me as in a mirror; I saw all the mirrors on earth and none of them reflected me; I saw in a backyard of Soler Street the same tiles that thirty years before I'd seen in the entrance of a house in Fray Bentos; I saw bunches of grapes, snow, tobacco, lodes of metal, steam; I saw convex equatorial deserts and each one of their grains of sand; I saw a woman in Inverness whom I shall never forget; I saw her tangled hair, her tall figure, I saw the cancer in her breast; I saw a ring of baked mud in a sidewalk, where before there had been a tree; I saw a summer house in Adrogué and a copy of the first English translation of Pliny -- Philemon Holland's -- and all at the same time saw each letter on each page (as a boy, I used to marvel that the letters in a closed book did not get scrambled and lost overnight); I saw a sunset in Querétaro that seemed to reflect the colour of a rose in Bengal; I saw my empty bedroom; I saw in a closet in Alkmaar a terrestrial globe between two mirrors that multiplied it endlessly; I saw horses with flowing manes on a shore of the Caspian Sea at dawn; I saw the delicate bone structure of a hand; I saw the survivors of a battle sending out picture postcards; I saw in a showcase in Mirzapur a pack of Spanish playing cards; I saw the slanting shadows of ferns on a greenhouse floor; I saw tigers, pistons, bison, tides, and armies; I saw all the ants on the planet; I saw a Persian astrolabe; I saw in the drawer of a writing table (and the handwriting made me tremble) unbelievable, obscene, detailed letters, which Beatriz had written to Carlos Argentino; I saw a monument I worshipped in the Chacarita cemetery; I saw the rotted dust and bones that had once deliciously been Beatriz Viterbo; I saw the circulation of my own dark blood; I saw the coupling of love and the modification of death; I saw the Aleph from every point and angle, and in the Aleph I saw the earth and in the earth the Aleph and in the Aleph the earth; I saw my own face and my own bowels; I saw your face; and I felt dizzy and wept, for my eyes had seen that secret and conjectured object whose name is common to all men but which no man has looked upon -- the unimaginable universe. I felt infinite wonder, infinite pity.