Monsters Incorporated Quotes

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Throughout history these Gogs were called by various names. Today, we may know them as Wall Street, Madison Avenue, Sicily, Columbia, 5th Avenue, Broadway, Hollywood, Silicon Valley, etc. All these are more than locations. They are international business entities—legal and illegal. If it’s incorporated, it’s a monster that feeds internationally; if it can bring glory to the ungodly, you are probably looking at a modern-day Gog. (2Tim 3:1-5) Michael Ben Zehabe, Ruth: a woman’s guide to husband material, pg 4
Michael Ben Zehabe (Ruth: A Woman's Guide to Husband Material)
Eros (or call it lust if you will), is like a beautiful, magnificent Afghan Hound! A pure white Afghan Hound commanding respect and honor! But if you take the Afghan Hound and lock it in a small cage, shun it and look upon it badly, treat it as a pestilence and wish that it would die; that same creature of beauty will become a vile, unrepentant, dark creature of the shadows! Untrusting, hidden in the corner, aggressive... something that will harm others and yourself! But is this the nature of the creature, is this the fault of the creature? Or are YOU the one who has created the monster that it has become? And this is my philosophy: that we are both corporeal and incorporeal beings, therefore, the same amount of good intent MUST be given to both our soul and our body!
C. JoyBell C.
In a single stroke, the Linnaean classification system wiped monsters off the face of the map. There might still be unknown beasts and fearsome creatures out there, but now they each would have a family, a genus, a species; no matter how strange an animal might be, it was now under the rubric of scientific study and discussion. Thus, the medieval world's monsters and wonders were, one by one, either incorporated into this taxonomy or excluded as myth. The kraken became the genus Architeuthis, the giant squid; the sea serpent became Regalecus glesne, the giant oarfish.
Colin Dickey (The Unidentified: Mythical Monsters, Alien Encounters, and Our Obsession with the Unexplained)
And at the center of the room, a girl. A woman. She sits at the klavier with eyes closed, playing their song. Their story. Elisabeth. Her image flickers, wavers, a reflection seen on the edges of a candle flame. The shadows wriggle and writhe with curiosity, and with tremendous effort, the monster holds them back. Please, he whispers. Please, let me have this one thing. As he plays, the darkness recedes. From his skin, from his hair, the weight of the rams' horns on his head lightening. Color returns to the world and to his eyes, a mismatched blue and green as the monster remembers what it is to be a man. Elisabeth. He sits down on the bench beside her, begging her- beseeching her- to open her eyes and see him. Be with him. But she keeps her eyes closed, hands trembling on the keyboard. Elisabeth. She stirs. He sucks in a sharp breath and lifts his hand to stroke her cheek with fingers that are still mangled, broken, strange. His touch passes through her like a knife through smoke, yet she shivers as if she can feel the brush of his fingers in the dark places of her soul, her body, her heart. She is as insubstantial as mist, but he cannot resist the urge, the itch, to kiss. He closes his eyes and leans in close, imagining the silk of her skin against his lips. They are met. A gasp. His eyes fly open but hers are still closed. Her hand lifts to her mouth, as though the tingle of their unexpected caress still lingered there. "Mein Herr," she sighs. "Oh, mein Herr." I'm here, he says. Look at me. Be with me. See me. Call me by name. Yet when she opens her eyes, she stares through him, not at him. The darkness hisses and crawls, the shushing sound of branches in an icy wind. She drops her head into her hands, her shoulders hunched, and the sound of her crying is more bitter than even the coldest winter night. No! he cries. He wants to comfort and caress her, but he cannot hold her, cannot touch her. He is a ghost in her mind, voiceless, silent, and incorporeal.
S. Jae-Jones (Shadowsong (Wintersong, #2))
Many women have identified with the grimace and the rage of Medusa. May Sarton identifies the Medusa-face as the face of her own frozen rage. Emily Culpepper speaks out of her own experience: “The Gorgon has much vital, literally life-saving information to teach women about anger, rage, power, and the release of the determined aggressiveness sometimes needed for survival.” Patricia Klindienst Joplin tells us why the artist is drawn to Medusa: “Behind the victim’s head that turns men to stone may lie the victim stoned to death by men... if Medusa has become a central figure for the woman artist to struggle with, it is because, herself a silenced woman, she has been used to silence other women.” Many artists have identified with the rage of Medusa. The Italian scholar and artist, Cristina Biaggi, who now works in the United States, incorporated her studies of prehistory and ancient history and myth into a powerful fiberglass sculpture, “Raging Medusa” (2000). The sculpture is 5.5 feet in diameter and weighs 98 pounds.
Miriam Robbins Dexter (Re-visioning Medusa: from Monster to Divine Wisdom)
However, as I say, he stood there and watched. Watched the smoke, or vapor, or whatever it was, whirl and whirl, faster and faster, snatching up the vagrant wisps and streamers that had strayed to the far corners of the room, sucking them in, incorporating them into the central column, until at last that column, swirling there, seemed almost solid. It was solid. It had ceased its whirling and stood there quivering, jelly-like, plastic, but nevertheless, solid. And, as though molded in the hands of an invisible sculptor, that column was changing. Indentations appeared here, protuberances there. The character of the surface altered subtly; presently it was no longer smooth and lustrous, but rough and scaly. It lost most of its luminosity and became an uncertain, lichenous green. Until at last it was a - thing. That moment, Denning thinks, was the most horrible in all the adventure. Not because of the horror of the thing that stood before him, but because at that very moment an automobile, driven by some belated citizen passed by outside, the light from its headlights casting eerie gleams across the walls and the ceiling; and the thought of the difference between the commonplace world in which that citizen was living, and the frightful things taking place in this room almost overcame the cowering man by the doorway. And, too, the light made just that much plainer the disgusting details of the creature that towered above them. ("Out Of The Jar")
Charles Tanner (Zacherley's Vulture Stew)
Dunne’s dreams seemed to him evidence for what Einstein and other physicists and mathematicians were just beginning to assert: that since the present moment depends entirely on where you stand in relation to events—what might be in the past for one observer may still be in the future for another observer, and vice versa—then the future must in some sense already exist. Einstein’s theory of relativity suggested that time was a dimension like space. To help visualize this, his teacher, Hermann Minkowski, pictured “spacetime” as a four-dimensional block. For the purposes of this book, let’s make it a glass block so we can see what is happening inside it. One’s life, and the “life” of any single object or atom in the universe, is really a line—a “world line”—snaking spaghetti-like through that glass block. The solid three-dimensional “you” that you experience at any moment is really just a slice or cross section of a four-dimensional clump of spaghetti-like atoms that started some decades ago as a zygote, gradually expanded in size by incorporating many more spaghetti-strand atoms, and then, after several decades of coherence (as a literal “flying spaghetti monster”) will dissipate into a multitude of little spaghetti atoms going their separate ways after your death. (They will recoalesce in different combinations with other spaghetti-strand atoms to make other objects and other spaghetti beings, again and again and again, until the end of the universe.) What we perceive at any given moment as the present state of affairs is just a narrow slice or cross-section of that block as our consciousness traverses our world-line from beginning to end. (If it helps envision this, the comic artist, occult magician, and novelist Alan Moore has recently revised the “block” to a football—one tip being the big bang, the other the “big crunch” proposed in some cosmological models.32 I will stick with the term “glass block” since I am not a football fan and “glass football” sounds odd.) Precognitive dreams, Dunne argued, show that at night, as well as other times when the brain is in a relaxed state, our consciousness can wriggle free of the present moment and scan ahead (as well as behind) on our personal world-line, like a flashlight at night illuminating a spot on the path ahead. This ability to be both rooted mentally in our body, with its rich sensory “now,” and the possibility of coming unstuck in time (as Vonnegut put it) suggested to Dunne that human consciousness was dual. We not only possess an “individual mind” that adheres to the brain at any given time point, but we also are part of a larger, “Universal Mind,” that transcends the now and that spaghetti-clump body. The Universal Mind, he argued, is ultimately shared—a consciousness-in-common—that is equivalent to what has always been called “God.
Eric Wargo (Time Loops: Precognition, Retrocausation, and the Unconscious)
Richard had taken his time to answer. “Mega-corps don’t exist, or at least they wouldn’t exist if we didn’t buy into them.” “Bullshit. It wasn’t that long ago. You’re forgetting about the militias.” “No, I remember them all too clearly. I was in a militia before I joined the regular force. It wasn’t the corporation committing war crimes. It was us on the ground.” “Acting on orders.” “Doesn’t matter. It was still us. We give them the power they have, we carried the guns. The corporation only exists because we believe it does. We used to believe in dragons and unicorns, now we believe in Monster Incorporated.
Harold R. Johnson (Corvus)
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Richard had taken his time to answer. “Mega-corps don’t exist, or at least they wouldn’t exist if we didn’t buy into them.” “Bullshit. It wasn’t that long ago. You’re forgetting about the militias.” “No, I remember them all too clearly. I was in a militia before I joined the regular force. It wasn’t the corporation committing war crimes. It was us on the ground.” “Acting on orders.” “Doesn’t matter. It was still us. We give them the power they have, we carried the guns. The corporation only exists because we believe it does. We used to believe in dragons and unicorns, now we believe in Monster Incorporated.
Harold Johnson
The school of Epicurus sought to free its students not only from their own desires but from the fear associated with superstitions and myths. Teachings incorporated empirical science for the express purpose of dispelling anxieties about mythical gods and monsters who were thought to control things like the weather—or, for that matter, one’s fortune in life.
Jenny Odell (How to Do Nothing: Resisting the Attention Economy)
What programs would a prison need to utilize in order to maximize the likelihood that the people sent to it would renounce violence as a behavioral strategy? To begin with, it would need to be an anti-prison. Beginning with its architecture, it would need to convey an entirely different message. Current prisons are modeled architecturally after zoos — or rather, after the kinds of zoos that used to exist, but that have been replaced with zoological parks because the animals' keepers began to realize that the old zoos, with concrete floors and walls and steel bars were too inhumane for animals to survive in. Yet we still keep our human animals in zoos that no humane society would permit for animals. And the architecture itself conveys that message to the prisoners: "You are an animal, for this is a zoo, and zoos are what animals are put in." And then we act surprised when the men and women we treat that way actually behave like animals, both when they are in this human zoo and after they return to the community. So we would need to build an anti-prison that would actually look as if it had been built for human beings rather than animals, i.e. that was as home-like and pleasant and civilized and human as possible. Once we had done that, we could offer those who had been sent there the opportunity to acquire as much education and/or vocational training as they had the ability and energy and interest to obtain. We would of course need to provide treatment for whatever medical, dental, psychiatric, or substance-abuse problems they had, and would want to incorporate many of the principles of a therapeutic community into the everyday routines of this residential school, with frequent group discussions with the other residents and staff members with training in psychotherapy. The goal would be to replace the "monster factories" that most prisons now are with therapeutic communities designed to enable people who are deeply damaged, and damaging, to recover their humanity or to gain a degree of humanity they had never been able to acquire; in short, to help them heal themselves and learn, in the process, how to heal others and even repair some of the damage they have done.
James Gilligan (Preventing Violence (Prospects for Tomorrow))
Evelyn’s wings turned incorporeal, granting her body passage through the solid stone of the street below her. The void-monster’s arms pummeled where she’d been, bashing giant cracks and indents into the street. Evelyn righted herself as she fell, then shot a hand upward. Her clawed fingers hooked the stone of the street. Her descent halted, she pulled, and then shot out of the ground like a bullet. Whisper-Song’s handle rolled over her shoulder, back into her grip, and then swirled. Both scythes carved through the void-monster’s body, spilling shadow. Evelyn flapped her wings to carry her above, and then she ripped Whisper and Song apart so she might bury both their blades directly into the void-monster’s forehead.
David Dalglish (Ravencaller (The Keepers, #2))