β
I have a high pain threshold. In fact, it's more of a large and tastfully decorated foyer than a threshold. But I do get easily bored
β
β
Cassandra Clare (City of Bones (The Mortal Instruments, #1))
β
I would be most content if my children grew up to be the kind of people who think decorating consists mostly of building enough bookshelves.
β
β
Anna Quindlen
β
Without music to decorate it, time is just a bunch of boring production deadlines or dates by which bills must be paid.
β
β
Frank Zappa (The Real Frank Zappa Book)
β
So plant your own gardens and decorate your own soul, instead of waiting for someone to bring you flowers.
β
β
Jorge Luis Borges
β
You can decorate absence however you want- but your still gonna feel whatβs missing.
β
β
Siobhan Vivian (Same Difference)
β
Jace?"
"Yeah?"
"How did you know I had Shadowhunter blood? Was there some way you could tell?"
The elevator arrived with a final groan. Jace unlatched the gate and slid it open. The inside reminded Clary of a birdcage, all black metal and decorative bits of gilt. "I guessed," he said, latching the door behind them. "It seemed like the most likely explanation."
"You guessed? You must have been pretty sure, considering you could have killed me."
He pressed a button in the wall, and the elevator lurched into action with a vibrating groan that she felt all through the bones in her feet. "I was ninety percent sure."
"I see," Clary said.
There must have been something in her voice, because he turned to look at her. Her hand cracked across his face, a slap that rocked him back on his heels. He put a hand to his cheek, more in surprise than pain. "What the hell was that for?"
The other ten percent," she said, and they rode the rest of the way down to the street in silence.
β
β
Cassandra Clare (City of Bones (The Mortal Instruments, #1))
β
What do you think an artist is? ...he is a political being, constantly aware of the heart breaking, passionate, or delightful things that happen in the world, shaping himself completely in their image. Painting is not done to decorate apartments. It is an instrument of war.
β
β
Pablo Picasso
β
But this room looked like it had been decorated by the unholy lovechild of Barbie and Strawberry Shortcake.
β
β
Rachel Hawkins (Hex Hall (Hex Hall, #1))
β
Luna had decorated her bedroom ceiling with five beautifully painted faces: Harry, Ron, Hermione, Ginny, and Neville. They were not moving as the portraits at Hogwarts moved, but there was a certain magic about them all the same: Harry thought they breathed. What appeared to be fine golden chains wove around the pictures, linking them together, but after examining them for a minute or so, Harry realized that the chains were actually one word, repeated a thousand times in golden ink: friends . . . friends . . . friends . . .
β
β
J.K. Rowling (Harry Potter and the Deathly Hallows (Harry Potter, #7))
β
It is very frustrating not to be understood in this world. If you say one thing and keep being told that you mean something else, it can make you want to scream. But somewhere in the world there is a place for all of us, whether you are an electric form of decoration, peppermint-scented sweet, a source of timber, or a potato pancake.
β
β
Lemony Snicket (The Latke Who Couldn't Stop Screaming: A Christmas Story)
β
The ornament of a house is the friends who frequent it.
β
β
Ralph Waldo Emerson
β
There is a saying in the Islands. Beware the women of the warrior class, for all they touch is both decorative and deadly.-Yuki
β
β
Tamora Pierce (Squire (Protector of the Small, #3))
β
I learned about the sacred art of self decoration with the monarch butterflies perched atop my head, lightning bugs as my night jewelry, and emerald-green frogs as bracelets.
β
β
Clarissa Pinkola EstΓ©s (Women Who Run With the Wolves)
β
Love is like a forest, I think as I kill trees by squandering toilet paper while βdecoratingβ my ex girlfriendβs front yard.
β
β
Jarod Kintz (This Book Has No Title)
β
My dear boy, no woman is a genius. Women are a decorative sex. They never have anything to say, but they say it charmingly. Women represent the triumph of matter over mind, just as men represent the triumph of mind over morals.
β
β
Oscar Wilde (The Picture of Dorian Gray)
β
Have nothing in your house that you do not know to be useful, or believe to be beautiful.
β
β
William Morris
β
Katniss: I guess all those hours decorating cakes paid off.
Peeta: Yes, frosting. The final defence of the dying. (252)
β
β
Suzanne Collins
β
She surrounded herself with books at work and at home. Her living space was a testament to her first and abiding love with shelves jammed with books tables crowded with them. She saw them not only as knowledge entertainment comfort even sanity but as a kind of artful decoration.
β
β
Nora Roberts (Key of Knowledge (Key Trilogy, #2))
β
Then I feel, Harry, that I have given away my whole soul to someone who treats it as if it were a flower to put in his coat, a bit of decoration to charm his vanity, an ornament for a summer's day.
β
β
Oscar Wilde (The Picture of Dorian Gray)
β
I think everything in life is art. What you do. How you dress. The way you love someone, and how you talk. Your smile and your personality. What you believe in, and all your dreams. The way you drink your tea. How you decorate your home. Or party. Your grocery list. The food you make. How your writing looks. And the way you feel. Life is art.
β
β
Helena Bonham Carter
β
Tattoos have a power and magic all their own. They decorate the body but they also enhance the soul.
β
β
Michelle Delio
β
At Camp Half-Blood. The Hades cabin needs a head counsellor. Have you seen the decor? Itβs disgusting. Iβll have to renovate. And someone needs to do the burial rites properly, since demigods insist on dying heroically.β
βThatβs β thatβs fantastic! Dude!β Jason opened his arms for a hug, then froze. βRight. No touching. Sorry.β
Nico grunted. βI suppose we can make an exception.β Jason squeezed him so hard Nico thought his ribs would crack.
β
β
Rick Riordan (The Blood of Olympus (The Heroes of Olympus, #5))
β
What must it be like, I wonder, to live in a world where food appears at the press of a button? How would I spend the hours I now commit to combing the woods for sustenance if it were so easy to come by? What do they do all day, these people in the Capitol, besides decorating their bodies and waiting around for a new shipment of tributes to rill in and die for their entertainment?
β
β
Suzanne Collins (The Hunger Games (The Hunger Games, #1))
β
Isabelle was holding an umbrella. It was clear plastic, decorated with decals of colorful flowers. It was one of the girliest things Simon had ever seen, and he didnβt blame Alec for ducking out from under it and taking his chances with the rain.
β
β
Cassandra Clare (City of Lost Souls (The Mortal Instruments, #5))
β
Art is how we decorate space;
Music is how we decorate time.
β
β
Jean-Michel Basquiat
β
I will see you again,β Hades promised. βI will prepare a room for you at the palace in case you do not survive. Perhaps your chambers would look good decorated with the skulls of monks.β
βNow I canβt tell if youβre joking.β
Hadesβs eyes glittered as his form began to fade. βThen perhaps we are alike in some important ways.β
The god vanished.
β
β
Rick Riordan (The Blood of Olympus (The Heroes of Olympus, #5))
β
Chaol raised his brows. "So I'm just here for decoration?"
"Be grateful I consider you a worthy accessory.
β
β
Sarah J. Maas (Crown of Midnight (Throne of Glass, #2))
β
We liked to be known as the clever girls. When we decorated our hands with henna for holidays and weddings, we drew calculus and chemical formulae instead of flowers and butterflies.
β
β
Malala Yousafzai (I Am Malala: The Story of the Girl Who Stood Up for Education and Was Shot by the Taliban)
β
The only purpose of cats is that they constitute mobile decorative objects.
β
β
Muriel Barbery (The Elegance of the Hedgehog)
β
I ask you, what good is a big picture window and the lavish appointments and a priceless decor in a home if there is no mother there?
β
β
Spencer W. Kimball (The Miracle of Forgiveness)
β
Nobody can say anything about you. Whatsoever people say is about themselves. But you become very shaky, because you are still clinging to a false center. That false center depends on others, so you are always looking to what people are saying about you. And you are always following other people, you are always trying to satisfy them. You are always trying to be respectable, you are always trying to decorate your ego. This is suicidal. Rather than being disturbed by what others say, you should start looking inside yourselfβ¦
Whenever you are self-conscious you are simply showing that you are not conscious of the self at all. You donβt know who you are. If you had known, then there would have been no problemβ then you are not seeking opinions. Then you are not worried what others say about youβ it is irrelevant!
When you are self-conscious you are in trouble. When you are self-conscious you are really showing symptoms that you donβt know who you are. Your very self-consciousness indicates that you have not come home yet.
β
β
Osho
β
Donβt lie. You know you like to view but not to buy. I have found that I am not a space where people want to live, at least not without decorating first. And that is the stubbornness in me: I do not want to be someoneβs little home.
β
β
Jeanette Winterson (Gut Symmetries)
β
Itβs cold as hell!β Mor called from the front hall, startling me from the warmth pooling in my core. βAnd who the hell let Cassian and Feyre decorate?
β
β
Sarah J. Maas (A Court of Frost and Starlight (A Court of Thorns and Roses, #3.5))
β
So I'm just here for decoration?"
"Be grateful I consider you a worthy accessory.
β
β
Sarah J. Maas
β
I think grief is like a really ugly couch. It never goes away. You can decorate around it; you can slap a doily on top of it; you can push it to the corner of the roomβbut eventually, you learn to live with it.
β
β
Jodi Picoult (Leaving Time)
β
i don't
wear makeup for others
the same way
i don't
decorate
my house for others.
this is my
home
&
everything i do
is for
me.
β
β
Amanda Lovelace (The Witch Doesn't Burn in This One (Women Are Some Kind of Magic, #2))
β
Prose is architecture, not interior decoration.
β
β
Ernest Hemingway
β
What is it the I'll want from you? Not love: that would be too much to ask. Not forgiveness, which isn't yours to bestow. Only a listener, perhaps; only someone who will see me. Don't prettify me though, whatever else you do: I have no wish to be a decorated skull.
But I leave myself in your hands. What choice do I have? By the time you read this last page, that- if anywhere- is the only place I will be.
β
β
Margaret Atwood (The Blind Assassin)
β
His face and arms are so artfully disguised as to be invisible. I kneel beside him. βI guess all those hours decorating cakes paid off.β Peeta smiles. βYes, frosting. The final defense of the dying.
β
β
Suzanne Collins (The Hunger Games (The Hunger Games, #1))
β
Does character develop over time? In novels, of course it does: otherwise there wouldn't be much of a story. But in life? I sometimes wonder. Our attitudes and opinions change, we develop new habits and eccentricities; but that's something different, more like decoration. Perhaps character resembles intelligence, except that character peaks a little later: between twenty and thirty, say. And after that, we're just stuck with what we've got. We're on our own. If so, that would explain a lot of lives, wouldn't it? And alsoβif this isn't too grand a wordβour tragedy.
β
β
Julian Barnes (The Sense of an Ending)
β
He's painting your living room as a thank you."
"Huh. My decorator might screech, but I'm okay with that."
"Your decorator? Seriously? How did you not know you were gay?
β
β
Dani Alexander (Shattered Glass (Shattered Glass, #1))
β
My Lord, I find thy face apelike and thy form misshapen. Thy beard, moreover, is an offense against decency, resembling more closely the scabrous fir which doth decorate the hinder portion of a mongrel dog than a proper adornement for a human face. Is it possible that thy mother, seized by some wild lechery, did dally at some time past with a randy goat? -Mandorallen
β
β
David Eddings
β
Painting is not made to decorate apartments. It's an offensive and defensive weapon against the enemy.
β
β
Pablo Picasso
β
As we are a doomed race, chained to a sinking ship, as the whole thing is a bad joke, let us, at any rate, do our part; mitigate the suffering of our fellow-prisoners; decorate the dungeon with flowers and air-cushions; be as decent as we possibly can.
β
β
Virginia Woolf (Mrs. Dalloway)
β
I believe I know the only cure, which is to make oneβs center of life inside of oneβs self, not selfishly or excludingly, but with a kind of unassailable serenityβto decorate oneβs inner house so richly that one is content there, glad to welcome anyone who wants to come and stay, but happy all the same when one is inevitably alone.
β
β
Edith Wharton
β
All of our waste which we dumped on her and which she absorbed. And all of our beauty, which was hers first and which she gave to us. All of us--all who knew her--felt so wholesome after we cleaned ourselves on her. We were so beautiful when we stood astride her ugliness. Her simplicity decorated us, her guilt sanctified us, her pain made us glow with health, her awkwardness made us think we had a sense of humor. Her inarticulateness made us believe we were eloquent. Her poverty kept us generous. Even her waking dreams we used--to silence our own nightmares. And she let us, and thereby deserved our contempt. We honed our egos on her, padded our characters with her frailty, and yawned in the fantasy of our strength.
And fantasy it was, for we were not strong, only aggressive; we were not free, merely licensed; we were not compassionate, we were polite; not good, but well behaved. We courted death in order to call ourselves brave, and hid like thieves from life. We substituted good grammar for intellect; we switched habits to simulate maturity; we rearranged lies and called it truth, seeing in the new pattern of an old idea the Revelation and the Word.
β
β
Toni Morrison (The Bluest Eye)
β
... a metaphor ... is like lying but more decorative.
β
β
Terry Pratchett (Guards! Guards! (Discworld, #8; City Watch, #1))
β
She wanted out of that decorating scheme.
β
β
Jeffrey Eugenides (The Virgin Suicides)
β
A number of years ago, when I was a freshly-appointed instructor, I met, for the first time, a certain eminent historian of science. At the time I could only regard him with tolerant condescension.
I was sorry of the man who, it seemed to me, was forced to hover about the edges of science. He was compelled to shiver endlessly in the outskirts, getting only feeble warmth from the distant sun of science- in-progress; while I, just beginning my research, was bathed in the heady liquid heat up at the very center of the glow.
In a lifetime of being wrong at many a point, I was never more wrong. It was I, not he, who was wandering in the periphery. It was he, not I, who lived in the blaze.
I had fallen victim to the fallacy of the 'growing edge;' the belief that only the very frontier of scientific advance counted; that everything that had been left behind by that advance was faded and dead.
But is that true? Because a tree in spring buds and comes greenly into leaf, are those leaves therefore the tree? If the newborn twigs and their leaves were all that existed, they would form a vague halo of green suspended in mid-air, but surely that is not the tree. The leaves, by themselves, are no more than trivial fluttering decoration. It is the trunk and limbs that give the tree its grandeur and the leaves themselves their meaning.
There is not a discovery in science, however revolutionary, however sparkling with insight, that does not arise out of what went before. 'If I have seen further than other men,' said Isaac Newton, 'it is because I have stood on the shoulders of giants.
β
β
Isaac Asimov (Adding a Dimension: Seventeen Essays on the History of Science)
β
We cut the throat of a calf and hang it up by the heels to bleed to death so that our veal cutlet may be white; we nail geese to a board and cram them with food because we like the taste of liver disease; we tear birds to pieces to decorate our women's hats; we mutilate domestic animals for no reason at all except to follow an instinctively cruel fashion; and we connive at the most abominable tortures in the hope of discovering some magical cure for our own diseases by them.
β
β
George Bernard Shaw (Man and Superman)
β
To write or even speak English is not a science but an art. There are no reliable words. Whoever writes English is involved in a struggle that never lets up even for a sentence. He is struggling against vagueness, against obscurity, against the lure of the decorative adjective, against the encroachment of Latin and Greek, and, above all, against the worn-out phrases and dead metaphors with which the language is cluttered up.
β
β
George Orwell
β
Tell me about Raffe."
Nothing.
"okay. Let's practice fighting," I said in an enthusiastic voice as if I'm talking to a little kid. "I could use more lessons."
Nothing.
"Right. Well, I guess I have nothing better to do now than to decorate the teddy bear with ribbons and bows. What do you think of dusky pink?"
The room wavers, then morphs.
β
β
Susan Ee (World After (Penryn & the End of Days, #2))
β
Wit and puns aren't just decor in the mind; they're essential signs that the mind knows it's on, recognizes its own software, can spot the bugs in its own program.
β
β
Adam Gopnik
β
Graceβs gaze skimmed over her, taking in the various marks of possession that decorated her flesh. βWell, short of having βProperty of Trey Colemanβ tattooed on your forehead, he couldnβt have made it any clearer that he considered you his, could he?
β
β
Suzanne Wright (Feral Sins (The Phoenix Pack, #1))
β
Now and then, however, he is horribly thoughtless, and seems to take a real delight in giving me pain. Then I feel, Harry, that I have given away my whole soul to some one who treats it as if it were a flower to put in his coat, a bit of decoration to charm his vanity, an ornament for a summerβs day.
β
β
Oscar Wilde (The Picture of Dorian Gray)
β
Strange how we decorate pain.
These ribbons, for instance,
and the small hard teardrops of blood.
Who are they for?
Do we think the dead care?
β
β
Margaret Atwood (Morning In The Burned House: Poems)
β
Her heart was finished. It bore, perhaps, records of life, but it wasn't alive. Too late for decoration. Too late for effects. Further handling could only result in cracks and fractures. People could cut themselves on the edgesof her heart, she was sure of it.
β
β
Stephanie Kallos (Broken for You)
β
Explore me,' you said and I collected my ropes, flasks and maps, expecting to be back home soon. I dropped into the mass of you and I cannot find the way out. Sometimes I think Iβm free, coughed up like Jonah from the whale, but then I turn a corner and recognise myself again. Myself in your skin, myself lodged in your bones, myself floating in the cavities that decorate every surgeonβs wall. That is how I know you. You are what I know.
β
β
Jeanette Winterson (Written on the Body)
β
How could you not know?" His voice was full of wonderment. "You changed me utterly. You were like a...like a bright, wonderful bloom in a garden full of weeds. Like a graceful capital on a page of plain script, a letter decorated with the deepest, finest colors in all Erin. Like a flame, Caitrin. Like a song.
β
β
Juliet Marillier (Heart's Blood)
β
She was the most wonderful woman for prowling about the house. How she got from one story to another was a mystery beyond solution. A lady so decorous in herself, and so highly connected, was not to be suspected of dropping over the banisters or sliding down them, yet her extraordinary facility of locomotion suggested the wild idea.
β
β
Charles Dickens (Hard Times)
β
With maps and globes decorated around your room as a child and with passport and ticket in hand in the present, it is your world to explore. To travel is to ask for a complex mix of the new and the old, hellos and goodbyes, and sadness and happiness. Leave your shoes behind at home and to walk in the footsteps of others for a while.
β
β
Forrest Curran
β
He dropped the rest of the Cokes into the grave and pulled out a white
paper bag decorated with cartoons. I hadnβt seen one in years, but I
recognized it β a McDonaldβs Happy Meal.
He turned it upside down and shook the fries and hamburger into the grave.
βIn my day, we used animal blood,β the ghost mumbled. βItβs perfectly good enough. They canβt taste the difference.β
βI will treat them with respect,β Nico said.
βAt least let me keep the toy,β the ghost said.
β
β
Rick Riordan (The Battle of the Labyrinth (Percy Jackson and the Olympians, #4))
β
Beloved, we are always in the wrong,
Handling so clumsily our stupid lives,
Suffering too little or too long,
Too careful even in our selfish loves:
The decorative manias we obey
Die in grimaces round us every day,
Yet through their tohu-bohu comes a voice
Which utters an absurd command - Rejoice.
β
β
W.H. Auden (The Collected Poetry of W. H. Auden.)
β
But the helmet had gold decoration, and the bespoke armorers had made a new gleaming breastplate with useless gold ornamentation on it. Sam Vimes felt like a class traitor every time he wore it. He hated being thought of as one of those people that wore stupid ornamental armor. It was gilt by association.
β
β
Terry Pratchett (Night Watch (Discworld, #29; City Watch, #6))
β
It is the part of a wise man, I say, to refresh and restore himself in moderation with pleasant food and drink, with scents, with the beauty of green plants, with decoration, music, sports, the theater, and other things of this kind, which anyone can use without injury to another.
β
β
Baruch Spinoza (Ethics)
β
But depression wasn't the word. This was a plunge encompassing sorrow and revulsion far beyond the personal: a sick, drenching nausea at all humanity and human endeavor from the dawn of time. The writhing loathsomeness of the biological order. Old age, sickness, death. No escape for anyone. Even the beautiful ones were like soft fruit about to spoil. And yet somehow people still kept fucking and breeding and popping out new fodder for the grave, producing more and more new beings to suffer like this was some kind of redemptive, or good, or even somehow morally admirable thing: dragging more innocent creatures into the lose-lose game. Squirming babies and plodding, complacent, hormone-drugged moms. Oh, isn't he cute? Awww. Kids shouting and skidding in the playground with no idea what future Hells await them: boring jobs and ruinous mortgages and bad marriages and hair loss and hip replacements and lonely cups of coffee in an empty house and a colostomy bag at the hospital. Most people seemed satisfied with the thin decorative glaze and the artful stage lighting that sometimes, made the bedrock atrocity of the human predicament look somewhat more mysterious or less abhorrent. People gambled and golfed and planted gardens and traded stocks and had sex and bought new cars and practiced yoga and worked and prayed and redecorated their homes and got worked up over the news and fussed over their children and gossiped about their neighbors and pored over restaurant reviews and founded charitable organizations and supported political candidates and attended the U.S. Open and dined and travelled and distracted themselves with all kinds of gadgets and devices, flooding themselves incessantly with information and texts and communication and entertainment from every direction to try to make themselves forget it: where we were, what we were. But in a strong light there was no good spin you could put on it. It was rotten from top to bottom.
β
β
Donna Tartt (The Goldfinch)
β
There is a distinct difference between "suspense" and "surprise," and yet many pictures continually confuse the two. I'll explain what I mean.
We are now having a very innocent little chat. Let's suppose that there is a bomb underneath this table between us. Nothing happens, and then all of a sudden, "Boom!" There is an explosion. The public is surprised, but prior to this surprise, it has seen an absolutely ordinary scene, of no special consequence. Now, let us take a suspense situation. The bomb is underneath the table and the public knows it, probably because they have seen the anarchist place it there. The public is aware the bomb is going to explode at one o'clock and there is a clock in the decor. The public can see that it is a quarter to one. In these conditions, the same innocuous conversation becomes fascinating because the public is participating in the scene. The audience is longing to warn the characters on the screen: "You shouldn't be talking about such trivial matters. There is a bomb beneath you and it is about to explode!"
In the first case we have given the public fifteen seconds of surprise at the moment of the explosion. In the second we have provided them with fifteen minutes of suspense. The conclusion is that whenever possible the public must be informed. Except when the surprise is a twist, that is, when the unexpected ending is, in itself, the highlight of the story.
β
β
Alfred Hitchcock
β
Your friends are all the dullest dogs I know. They are not beautiful: they are only decorated. They are not clean: they are only shaved and starched. They are not dignified: they are only fashionably dressed. They are not educated: they are only college passmen. They are not religious: they are only pewrenters. They are not moral: they are only conventional. They are not virtuous: they are only cowardly. They are not even vicious: they are only βfrail.β They are not artistic: they are only lascivious. They are not prosperous: they are only rich. They are not loyal, they are only servile; not dutiful, only sheepish; not public spirited, only patriotic; not courageous, only quarrelsome; not determined, only obstinate; not masterful, only domineering; not self-controlled, only obtuse; not self-respecting, only vain; not kind, only sentimental; not social, only gregarious; not considerate, only polite; not intelligent, only opinionated; not progressive, only factious; not imaginative, only superstitious; not just, only vindictive; not generous, only propitiatory; not disciplined, only cowed; and not truthful at all: liars every one of them, to the very backbone of their souls.
β
β
George Bernard Shaw (Man and Superman)
β
To summarize: Three steps must be taken to smash the war racket. 1. We must take the profit out of war. 2. We must permit the youth of the land who would bear arms to decide whether or not there should be war. 3. We must limit our military forces to home defense purposes.
β
β
Smedley D. Butler (War is a Racket: The Antiwar Classic by America's Most Decorated Soldier)
β
What do you think an artist is? An imbecile who only has eyes, if he is a painter, or ears if he is a musician, or a lyre in every chamber of his heart if he is a poet, or even, if he is a boxer, just his muscles? Far from it: at the same time he is also a political being, constantly aware of the heartbreaking, passionate, or delightful things that happen in the world, shaping himself completely in their image. How could it be possible to feel no interest in other people, and with a cool indifference to detach yourself from the very life which they bring to you so abundantly? No, painting is not done to decorate apartments. It is an instrument of war.
β
β
Pablo Picasso
β
Wanted, wanted: Dolores Haze.
Hair: brown. Lips: scarlet.
Age: five thousand three hundred days.
Profession: none, or "starlet"
Where are you hiding, Dolores Haze?
Why are you hiding, darling?
(I Talk in a daze, I walk in a maze
I cannot get out, said the starling).
Where are you riding, Dolores Haze?
What make is the magic carpet?
Is a Cream Cougar the present craze?
And where are you parked, my car pet?
Who is your hero, Dolores Haze?
Still one of those blue-capped star-men?
Oh the balmy days and the palmy bays,
And the cars, and the bars, my Carmen!
Oh Dolores, that juke-box hurts!
Are you still dancin', darlin'?
(Both in worn levis, both in torn T-shirts,
And I, in my corner, snarlin').
Happy, happy is gnarled McFate
Touring the States with a child wife,
Plowing his Molly in every State
Among the protected wild life.
My Dolly, my folly! Her eyes were vair,
And never closed when I kissed her.
Know an old perfume called Soliel Vert?
Are you from Paris, mister?
L'autre soir un air froid d'opera m'alita;
Son fele -- bien fol est qui s'y fie!
Il neige, le decor s'ecroule, Lolita!
Lolita, qu'ai-je fait de ta vie?
Dying, dying, Lolita Haze,
Of hate and remorse, I'm dying.
And again my hairy fist I raise,
And again I hear you crying.
Officer, officer, there they go--
In the rain, where that lighted store is!
And her socks are white, and I love her so,
And her name is Haze, Dolores.
Officer, officer, there they are--
Dolores Haze and her lover!
Whip out your gun and follow that car.
Now tumble out and take cover.
Wanted, wanted: Dolores Haze.
Her dream-gray gaze never flinches.
Ninety pounds is all she weighs
With a height of sixty inches.
My car is limping, Dolores Haze,
And the last long lap is the hardest,
And I shall be dumped where the weed decays,
And the rest is rust and stardust.
β
β
Vladimir Nabokov (Lolita)
β
I know he likes me. Of course I flatter him dreadfully. I find a strange pleasure in saying things to him that I know I shall be sorry for having said...Then I feel, Harry, that I have given away my whole soul to someone who treats it as if it were a flower to put in his coat, a bit of decoration to charm his vanity, an ornament for a summer's day.
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Oscar Wilde (The Picture of Dorian Gray)
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There is something about Christmas that requires a rug rat. Little kids make Christmas fun. I wonder if could rent one for the holidays. When I was tiny we would by a real tree and stay up late drinking hot chocolate and finding just the right place for the special decorations. It seems like my parents gave up the magic when I figured out the Santa lie. Maybe I shouldn't have told them I knew where the presents really came from. It broke their hearts.
I bet they'd be divorced by now if I hadn't been born. I'm sure I was a huge disappointment. I'm not pretty or smart or athletic. I'm just like them- an ordinary drone dressed in secrets and lies. I can't believe we have to keep playacting till I graduate. It's a shame we just can't admit that we have failed at family living, sell the house, split up the money, and get on with our lives. Merry Christmas.
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Laurie Halse Anderson (Speak)
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Freedom is not a reward or a decoration that you toast in champagne. On the contrary, it's hard graft and a long-distance run, all alone, very exhausting. Alone in a dreary room, alone in the dock before the judges, and alone to make up your mind, before yourself and before the judgement of others. At the end of every freedom there is a sentence, which is why freedom is too heavy to bear.
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Albert Camus (The Fall)
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We Irish prefer embroideries to plain cloth. To us Irish, memory is a canvas--stretched, primed, and ready for painting on. We love the "story" part of the word "history," and we love it trimmed out with color and drama, ribbons and bows. Listen to our tunes, observe a Celtic scroll: we always decorate our essence.
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Frank Delaney (Tipperary)
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Hodge says he's on his way and he hopes you can both manage to cling to your flickering sparks of life until he gets here," she told Simon and Jace. "Or something like that."
"I wish he'd hurry," Jace said crossly. He was sitting up in bed against a pair of fluffed white pillows, still wearing his filthy clothes.
"Why? Does it hurt?" Clary asked.
"No. I have a high pain threshold. In fact, it's less of a threshold and more of a large and tastefully decorated foyer. But I do get easily bored." He squinted at her. "Do you remember back at the hotel when you promised that if we lived, you'd get dressed up in a nurse's outfit and give me a sponge bath?"
"Actually, I think you misheard," Clary said. "It was Simon who promised you the sponge bath."
Jace looked involuntarily over at Simon, who smiled at him widely. "As soon as I'm back on my feet, handsome.
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Cassandra Clare (City of Bones (The Mortal Instruments, #1))
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They're crystal blue, a shade that shouldn't exist on the human body, I shade I immediately crave, a shade that makes my heart beat a little bit faster--almost as if I recognize it. I want to steal it, paint it, throw it into every room I ever decorate. It's the most perfect blue I've ever seen. Even from this distance his eyes are simply remarkable.
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Kiersten White (The Chaos of Stars)
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To ride a bicycle is in itself some protection against superstitious fears, since the bicycle is the product of pure reason applied to motion. Geometry at the service of man! Give me two spheres and a straight line and I will show you how far I can take them. Voltaire himself might have invented the bicycle, since it contributes so much to manβs welfare and nothing at all to his bane. Beneficial to the health, it emits no harmful fumes and permits only the most decorous speeds. How can a bicycle ever be an implement of harm?
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Angela Carter
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People always ask me, βYou have so much confidence. Where did that come from?β It came from me. One day I decided that I was beautiful, and so I carried out my life as if I was a beautiful girl β¦ It doesnβt have anything to do with how the world perceives you. What matters is what you see. Your body is your temple, itβs your home, and you must decorate it.
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Gabourey Sidibe
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Why must it be so hard
For us to come to understand,
That there are things we cannot change
Hidden amongst the things we can?
For we can rearrange our hearts,
Dust out the corners of our minds,
We can teach our eyes to see
Only the things we wish to find.
Yet once we decorate our walls
And sweep our sorrows off the floor,
Why do we look to someone else,
To show us how we can be more?
For here is where the line
Between our can and can't gets tough,
Just the point at which we all must learn
That we are already enough,
That since we cannot choose the home,
Our only soul was born into,
We should rearrange its rooms
But learn to love its window's view.
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Erin Hanson
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I allow myself to be right here, in the moment, savouring the peace. All the millions and millions of stars remind me, too, how small and fragile I am. And unimportant, really. If this branch were to creak and moan and break under my weight, and I were to plummet to the ground, the stars in the sky would continue to decorate the world. And even if the last tree disappears from our planet, the stars will still be up there.
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Sarah Crossan (Breathe (Breathe, #1))
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Some friends of theirs had rented their house for several months to an interior decorator. When they returned, they discovered that their entire library had been reorganized by color and size. Shortly thereafter, the decorator met with a fatal automobile accident. I confess that when this story was told, everyone around the dinner table concurred that justice had been served.
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Anne Fadiman (Ex Libris: Confessions of a Common Reader)
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If you feel your value lies in being merely decorative, I fear that someday you might find yourself believing thatβs all that you really are. Time erodes all such beauty, but what it cannot diminish is the wonderful workings of your mind: Your humor, your kindness, and your moral courage. These are the things I cherish so in you. I so wish I could give my girls a more just world. But I know youβll make it a better place.
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Louisa May Alcott
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I believe the defining moment was when certain persons, who shall remain nameless, objected to my fuchsia silk striped waistcoat. I loved that waistcoat. I put my foot down, right then and there; I do not mind telling you!" To punctuate his deeply offended feelings, he stamped one silver-and-pearl-decorated high heel firmly. "No one tells me what I can and cannot wear!" He snapped up a lace fan from where it lay on a hall table and fanned himself vigorously with it for emphasis.
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Gail Carriger (Soulless (Parasol Protectorate, #1))
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Because there is something in the touch of flesh with flesh which abrogates, cuts sharp and straight across the devious intricate channels of decorous ordering, which enemies as well as lovers know because it makes them both:---touch and touch of that which is the citadel of the central I-Am's private own: not spirit, soul; the liquorish and ungirdled mind is anyone's to take in any any darkened hallway of this earthly tenement. But let flesh touch with flesh, and watch the fall of all the eggshell shibboleth of caste and color too.β¨
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William Faulkner (Absalom, Absalom!)
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Fireflies out on a warm summer's night, seeing the urgent, flashing, yellow-white phosphorescence below them, go crazy with desire; moths cast to the winds an enchantment potion that draws the opposite sex, wings beating hurriedly, from kilometers away; peacocks display a devastating corona of blue and green and the peahens are all aflutter; competing pollen grains extrude tiny tubes that race each other down the female flower's orifice to the waiting egg below; luminescent squid present rhapsodic light shows, altering the pattern, brightness and color radiated from their heads, tentacles, and eyeballs; a tapeworm diligently lays a hundred thousand fertilized eggs in a single day; a great whale rumbles through the ocean depths uttering plaintive cries that are understood hundreds of thousands of kilometers away, where another lonely behemoth is attentively listening; bacteria sidle up to one another and merge; cicadas chorus in a collective serenade of love; honeybee couples soar on matrimonial flights from which only one partner returns; male fish spray their spunk over a slimy clutch of eggs laid by God-knows-who; dogs, out cruising, sniff each other's nether parts, seeking erotic stimuli; flowers exude sultry perfumes and decorate their petals with garish ultraviolet advertisements for passing insects, birds, and bats; and men and women sing, dance, dress, adorn, paint, posture, self-mutilate, demand, coerce, dissemble, plead, succumb, and risk their lives.
To say that love makes the world go around is to go too far. The Earth spins because it did so as it was formed and there has been nothing to stop it since. But the nearly maniacal devotion to sex and love by most of the plants, animals, and microbes with which we are familiar is a pervasive and striking aspect of life on Earth. It cries out for explanation. What is all this in aid of? What is the torrent of passion and obsession about? Why will organisms go without sleep, without food, gladly put themselves in mortal danger for sex? ... For more than half the history of life on Earth organisms seem to have done perfectly well without it. What good is sex?... Through 4 billion years of natural selection, instructions have been honed and fine-tuned...sequences of As, Cs, Gs, and Ts, manuals written out in the alphabet of life in competition with other similar manuals published by other firms. The organisms become the means through which the instructions flow and copy themselves, by which new instructions are tried out, on which selection operates.
'The hen,' said Samuel Butler, 'is the egg's way of making another egg.' It is on this level that we must understand what sex is for. ... The sockeye salmon exhaust themselves swimming up the mighty Columbia River to spawn, heroically hurdling cataracts, in a single-minded effort that works to propagate their DNA sequences into future generation. The moment their work is done, they fall to pieces. Scales flake off, fins drop, and soon--often within hours of spawning--they are dead and becoming distinctly aromatic.
They've served their purpose.
Nature is unsentimental.
Death is built in.
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Carl Sagan (Shadows of Forgotten Ancestors: Earth Before Humans by ANN DRUYAN' 'CARL SAGAN (1992-05-03))
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We have a lot of books in our house. They are our primary decorative motif-books in piles and on the coffee table, framed book covers, books sorted into stacks on every available surface, and of course books on shelves along most walls. Besides the visible books, there are books waiting in the wings, the basement books, the garage books, the storage locker books...They function as furniture, they prop up sagging fixtures and disguised by quilts function as tables...I can't imagine a home without an overflow of books. The point of books is to have way too many but to always feel you never have enough, or the right one at the right moment, but then sometimes to find you'd longed to fall asleep reading the Aspern Papers, and there it is.
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Louise Erdrich (Books and Islands in Ojibwe Country (National Geographic Directions))
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But the floor retained an unparalleled measure of excellence with a decorative array of ceramic tiles precisely laid by an anonymous Muslim artisan with limitless patience, pride, or skill.Β He left behind an ornate work of art in a short, squat, non-descript building near the most dangerous piece of real estate on the planet.Β Silva often wondered how an architect so careless came to work with a craftsman so precise.Β Looking at that floor, she often thought that if everyone applied just a fraction of his dedication to their own work, it might cancel out the hatred driving the destruction.
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John Payton Foden (Magenta)
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When she looked at herself in her wedding photographs, Ammu felt the woman that looked back at her was someone else. A foolish jewelled bride. Her silk sunset-coloured sari shot with gold. Rings on every finger. White dots of sandalwood paste over her arched eye-brows. Looking at herself like this, Ammu's soft mouth would twist into a small, bitter smile at the memory - not of the wedding itself so much as the fact that she had permitted herself to be so painstakingly decorated before being led to the gallows. It seemed so absurd. So futile.
Like polishing firewood.
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Arundhati Roy (The God of Small Things)
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Former corporal Hitler, decorated for his service on the front lines of the Great War, may have believed he knew more about waging war than the Prussian generals. His successes as an infantryman, terrorist, diplomatic bully, and military victor in early 1940 had made him supremely confident. But, in reality, he was out of his depth. He already had failed to easily capture the British Expeditionary Force at Dunkirk in May, 1940 and failed again a few months later in the Battle of Britain despite superior air power. Understanding the enormous potential of a comprehensive geopolitical strategy, such as the Quadripartite Entente, was beyond his capabilities and destroyed by his hatreds. While Germany was still powerful, the misjudgments in 1940 and the failure to conquer Russia in 1941 were taking a toll. Largely unrecognized at the time, the odds were beginning to shift away from Hitler.Β
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Dale A. Jenkins (Diplomats & Admirals: From Failed Negotiations and Tragic Misjudgments to Powerful Leaders and Heroic Deeds, the Untold Story of the Pacific War from Pearl Harbor to Midway)
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Every culture has its southerners -- people who work as little as they can, preferring to dance, drink, sing brawl, kill their unfaithful spouses; who have livelier gestures, more lustrous eyes, more colorful garments, more fancifully decorated vehicles, a wonderful sense of rhythm, and charm, charm, charm; unambitious, no, lazy, ignorant, superstitious, uninhibited people, never on time, conspicuously poorer (how could it be otherwise, say the northerners); who for all their poverty and squalor lead enviable lives -- envied, that is, by work-driven, sensually inhibted, less corruptly governed northerners. We are superior to them, say the northerners, clearly superior. We do not shirk our duties or tell lies as a matter of course, we work hard, we are punctual, we keep reliable accounts. But they have more fun than we do ... They caution[ed] themselves as people do who know they are part of a superior culture: we mustn't let ourselves go, mustn't descend to the level of the ... jungle, street, bush, bog, hills, outback (take your pick). For if you start dancing on tables, fanning yourself, feeling sleepy when you pick up a book, developing a sense of rhythm, making love whenever you feel like it -- then you know. The south has got you.
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Susan Sontag (The Volcano Lover)
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A moment later, Helen had returned; she was walking slowly now, and carefully, her hand on the back of a thin boy with a mop of wavy brown hair. He couldnβt have been older than twelve, and Clary recognized him immediately. Helen, her hand firmly clamped around the wrist of a younger boy whose hands were covered with blue wax. He must have been playing with the tapers in the huge candelabras that decorated the sides of the nave. He looked about twelve, with an impish grin and the same wavy, bitter-chocolate hair as his sister.
Jules, Helen had called him. Her little brother.
The impish grin was gone now. He looked tired and dirty and frightened. Skinny wrists stuck out of the cuffs of a white mourning jacket whose sleeves were too long for him. In his arms he was carrying a little boy, probably not more than two years old, with the same wavy brown hair that he had; it seemed to be a family trait. The rest of his family wore the same borrowed mourning clothes: following Julian was a brunette girl about ten, her hand firmly clasped in the hold of a boy the same age: the boy had a sheet of tangled black hair that nearly obscured his face. Fraternal twins, Clary guessed. After them came a girl who might have been eight or nine, her face round and very pale between brown braids.
The misery on their faces cut at Claryβs heart. She thought of her power with runes, wishing that she could create one that would soften the blow of loss. Mourning runes existed, but only to honor the dead, in the same way that love runes existed, like wedding rings, to symbolize the bond of love. You couldnβt make someone love you with a rune, and you couldnβt assuage grief with it, either. So much magic, Clary thought, and nothing to mend a broken heart.
βJulian Blackthorn,β said Jia Penhallow, and her voice was gentle. βStep forward, please.β
Julian swallowed and handed the little boy he was holding over to his sister. He stepped forward, his eyes darting around the room. He was clearly scouring the crowd for someone. His shoulders had just begun to slump when another figure darted out onto the stage. A girl, also about twelve, with a tangle of blond hair that hung down around her shoulders: she wore jeans and a t-shirt that didnβt quite fit, and her head was down, as if she couldnβt bear so many people looking at her. It was clear that she didnβt want to be there β on the stage or perhaps even in Idris β but the moment he saw her, Julian seemed to relax. The terrified look vanished from his expression as she moved to stand next to him, her face ducked down and away from the crowd.
βJulian,β said Jia, in the same gentle voice, βwould you do something for us? Would you take up the Mortal Sword?
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Cassandra Clare (City of Heavenly Fire (The Mortal Instruments, #6))
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Your answer is the logical, coherent answer an absolutely normal person would give: It's a tie! A lunatic, however, would say that what I have around my neck is a ridiculous, useless bit of colored cloth tied in a very complicated way, which makes it harder to get air into your lungs and difficult to turn your neck. I have to be careful when I'm anywhere near a fan, or I could be strangled by this bit of cloth.
If a lunatic were to ask me what this tie is for, I would have to say, absolutely nothing. It's not even purely decorative, since nowadays it's become a symbol of slavery, power, aloofness. The only really useful function a tie serves is the sense of relief when you get home and take it off; you feel as if you've freed yourself from something, though quite what you don't know.
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Paulo Coelho (Veronika Decides to Die)
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In his rearview mirror, I saw something flash in his eyes. "You want to know?" he sneered. "Let me imagine, Agha sahib. You probably lived in a big two- or three-story house with a nice backyard that your gardener filled with flowers and fruit trees. All gated, of course. Your father drove an American car. You had servants, probably Hazaras. Your parents hired workers to decorate the house for the fancy mehmanis they threw, so their friends would come over to drink and boast about their travels to Europe or America. And I would bet my first son's eyes that this is the first time you've ever worn a pakol." He grinned at me, revealing a mouthful of prematurely rotting teeth. "Am I close?"
Why are you saying these things?" I said.
Because you wanted to know," he spat. He pointed to an old man dressed in ragged clothes trudging down a dirt path, a large burlap pack filled with scrub grass tied to his back. "That's the real Afghanistan, Agha sahib. That's the Afghanistan I know. You? You've always been a tourist here, you just didn't know it.
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Khaled Hosseini (The Kite Runner)
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Positive. In other news, Marcie's throwing a Halloween party here at the farmhouse."
Patch smiled. "Grey - Millar family drama?"
"The theme is famous couples from history. Could she be any less original? Worse, she's roped my mom into this. They went shopping for decorations today. For three whole hours. It's like they're suddenly best friends." I picked up another apple slice and made a face at it. "Marcie is ruining everything. I wanted Scott to go with Vee, but Marcie already convinced him to go with her." Patch's smile widened.
I aimed my best sulky look at him. "This isn't funny. Marcie is destroying my life. Whose side are you on anyway?"
Patch raised his hands in surrender. "I'm staying out of this.
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Becca Fitzpatrick (Finale (Hush, Hush, #4))
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The room was a compact, informal library. Books stood or were stacked on the shelves that ran along two walls from floor to ceiling, sat on the tables like knickknacks, trooped around the room like soldiers. They struck Malory as more than knowledge or entertainment, even more than stories or information. They were colour and texture, in a haphazard yet somehow intricate decorating scheme.
The short leg of the L-shaped room boasted still more books, as well as a small table that held the remains of Dana's breakfast.
With her hands on her hips, Dana watched Malory's perusal of her space. She'd seen the reaction before. 'No I haven't read them all, but I will.And no I don't know how many I have. Want coffee?'
Let me just ask this. Do you ever actually use the services of the library?'
Sure, but I need to own them. If I don't have twenty or thirty books right here, waiting to be read, I start jonesing. That's my compulsion.
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Nora Roberts
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A good book is never exhausted. It goes on whispering to you from the wall. Books perfume and give weight to a room. A bookcase is as good as a view, as the sight of a city or a river. There are dawns and sunsets in books - storms, fogs, zephyrs.
I read about a family whose apartment consists of a series of spaces so strictly planned that they are obliged to give away their books as soon as they've read them. I think they have misunderstood the way books work.
Reading a book is only the first step in the relationship. After you've finished it, the book enters on its real career. It stand there as a badge, a blackmailer, a monument, a scar. It's both a flaw in the room, like a crack in the plaster, and a decoration. The contents of someone's bookcase are part of his history, like an ancestral portrait.
- in "About books; recoiling, rereading, retelling", The New York Times, February 22, 1987
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Anatole Broyard
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I have said that His Dark Materials is not fantasy but stark realism, and my reason for this is to emphasise what I think is an important aspect of the story, namely the fact that it is realistic, in psychological terms. I deal with matters that might normally be encountered in works of realism, such as adolescence, sexuality, and so on; and they are the main subject matter of the story β the fantasy (which, of course, is there: no-one but a fool would think I meant there is no fantasy in the books at all) is there to support and embody them, not for its own sake.
Dæmons, for example, might otherwise be only a meaningless decoration, adding nothing to the story: but I use them to embody and picture some truths about human personality which I couldn't picture so easily without them. I'm trying to write a book about what it means to be human, to grow up, to suffer and learn. My quarrel with much (not all) fantasy is it has this marvelous toolbox and does nothing with it except construct shoot-em-up games. Why shouldn't a work of fantasy be as truthful and profound about becoming an adult human being as the work of George Eliot or Jane Austen?
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Philip Pullman
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I saw a banner hanging next to city hall in downtown Philadelphia that read, "Kill them all, and let God sort them out." A bumper sticker read, "God will judge evildoers; we just have to get them to him." I saw a T-shirt on a soldier that said, "US Air Force... we don't die; we just go to hell to regroup." Others were less dramatic- red, white, and blue billboards saying, "God bless our troops." "God Bless America" became a marketing strategy. One store hung an ad in their window that said, "God bless America--$1 burgers." Patriotism was everywhere, including in our altars and church buildings. In the aftermath of September 11th, most Christian bookstores had a section with books on the event, calendars, devotionals, buttons, all decorated in the colors of America, draped in stars and stripes, and sprinkled with golden eagles.
This burst of nationalism reveals the deep longing we all have for community, a natural thirst for intimacy... September 11th shattered the self-sufficient, autonomous individual, and we saw a country of broken fragile people who longed for community- for people to cry with, be angry with, to suffer with. People did not want to be alone in their sorrow, rage, and fear.
But what happened after September 11th broke my heart. Conservative Christians rallies around the drums of war. Liberal Christian took to the streets. The cross was smothered by the flag and trampled under the feet of angry protesters. The church community was lost, so the many hungry seekers found community in the civic religion of American patriotism. People were hurting and crying out for healing, for salvation in the best sense of the word, as in the salve with which you dress a wound. A people longing for a savior placed their faith in the fragile hands of human logic and military strength, which have always let us down. They have always fallen short of the glory of God.
...The tragedy of the church's reaction to September 11th is not that we rallied around the families in New York and D.C. but that our love simply reflected the borders and allegiances of the world. We mourned the deaths of each soldier, as we should, but we did not feel the same anger and pain for each Iraqi death, or for the folks abused in the Abu Ghraib prison incident. We got farther and farther from Jesus' vision, which extends beyond our rational love and the boundaries we have established. There is no doubt that we must mourn those lives on September 11th. We must mourn the lives of the soldiers. But with the same passion and outrage, we must mourn the lives of every Iraqi who is lost. They are just as precious, no more, no less. In our rebirth, every life lost in Iraq is just as tragic as a life lost in New York or D.C. And the lives of the thirty thousand children who die of starvation each day is like six September 11ths every single day, a silent tsunami that happens every week.
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Shane Claiborne (The Irresistible Revolution: Living as an Ordinary Radical)
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When writing a novel a writer should create living people; people not characters. A character is a caricature. If a writer can make people live there may be no great characters in his book, but it is possible that his book will remain as a whole; as an entity; as a novel. If the people the writer is making talk of old masters; of music; of modern painting; of letters; or of science then they should talk of those subjects in the novel. If they do not talk of these subjects and the writer makes them talk of them he is a faker, and if he talks about them himself to show how much he knows then he is showing off. No matter how good a phrase or a simile he may have if he puts it in where it is not absolutely necessary and irreplaceable he is spoiling his work for egotism. Prose is architecture, not interior decoration, and the Baroque is over. For a writer to put his own intellectual musings, which he might sell for a low price as essays, into the mouths of artificially constructed characters which are more remunerative when issued as people in a novel is good economics, perhaps, but does not make literature. People in a novel, not skillfully constructed characters, must be projected from the writerβs assimilated experience, from his knowledge, from his head, from his heart and from all there is of him. If he ever has luck as well as seriousness and gets them out entire they will have more than one dimension and they will last a long time. A good writer should know as near everything as possible. Naturally he will not. A great enough writer seems to be born with knowledge. But he really is not; he has only been born with the ability to learn in a quicker ratio to the passage of time than other men and without conscious application, and with an intelligence to accept or reject what is already presented as knowledge. There are some things which cannot be learned quickly and time, which is all we have, must be paid heavily for their acquiring. They are the very simplest things and because it takes a manβs life to know them the little new that each man gets from life is very costly and the only heritage he has to leave. Every novel which is truly written contributes to the total of knowledge which is there at the disposal of the next writer who comes, but the next writer must pay, always, a certain nominal percentage in experience to be able to understand and assimilate what is available as his birthright and what he must, in turn, take his departure from. If a writer of prose knows enough about what he is writing about he may omit things that he knows and the reader, if the writer is writing truly enough, will have a feeling of those things as strongly as though the writer had stated them. The dignity of movement of an ice-berg is due to only one-eighth of it being above water. A writer who omits things because he does not know them only makes hollow places in his writing. A writer who appreciates the seriousness of writing so little that he is anxious to make people see he is formally educated, cultured or well-bred is merely a popinjay. And this too remember; a serious writer is not to be confounded with a solemn writer. A serious writer may be a hawk or a buzzard or even a popinjay, but a solemn writer is always a bloody owl.
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Ernest Hemingway (Death in the Afternoon)