Omitting Is Lying Quotes

Guys, we’re so screwed. The women know we didn’t go hunting. (Kyrian) You think? What idiot came up with that lie? (Zarek) I’m not an idiot. And it’s not like I lied. I just omitted what exactly we were hunting and where we were doing it. (Talon) Like your wives wouldn’t know better? When was the last time Mr. Armani hunted something that didn’t have a price tag on it? Oh, and the loafers and trousers are perfect camouflage. (Zarek)

Whatever is unnamed, undepicted in images, whatever is omitted from biography, censored in collections of letters, whatever is misnamed as something else, made difficult-to-come-by, whatever is buried in the memory by the collapse of meaning under an inadequate or lying language - this will become, not merely unspoken, but unspeakable.

I have never lied in these journals, although on occasion, I wanted to. I have, however, hidden certain truths, omitted to mention important details, and for this, I am truly sorry.

Everything she sang was true. I will leave it to you as to whether the truth can exist with details omitted, or if those lacks make a lie of it.

You lied to me,” she said. “I omitted information.” He paused. “Which may be just as deplorable.

Valuable elements may be easier to experience in art and in anticipation than in reality. The anticipatory and artistic imaginations omit and compress, they cut away the periods of boredom and direct our attention to critical moments and, without either lying or embellishing, thus lend to life a vividness and a coherence that it may lack in the distracting woolliness of the present.

A storyteller who provided us with such a profusion of details would rapidly grow maddening. Unfortunately, life itself often subscribes to this mode of storytelling, wearing us out with repetition, misleading emphases and inconsequential plot lines. It insists on showing us Bardak Electronics, the saftey handle in the car, a stray dog, a Christmas card and a fly that lands first on the rim and then in the centre of the ashtray. Which explains how the curious phenomenon whereby valuable elements may be easier to experience in art and in anticipation than in reality. The anticipatory and artistic imaginations omit and compress; they cut away the periods of boredom and direct our attention to critical moments, and thus, without either lying or embellishing, they lend to life a vividness and a coherence that it may lack in the distracting wooliness of the present.

We are solitary creatures that come together in packs so we can survive as a species. We’ll do anything to preserve the social status quo, including omit, deny, and lie. Complete honesty would be detrimental to the survival of the race.

Omitting the truth is its own kind of lie.

When once more alone, I reviewed the information I had got; looked into my heart, examined its thoughts and feelings, and endeavoured to bring back with a strict hand such as had been straying through imagination's boundless and trackless waste, into the safe fold of common sense. Arraigned to my own bar, Memory having given her evidence of the hopes, wishes, sentiments I had been cherishing since last night--of the general state of mind in which I had indulged for nearly a fortnight past; Reason having come forward and told, in her quiet way a plain, unvarnished tale, showing how I had rejected the real, and rapidly devoured the ideal--I pronounced judgement to this effect-- That a greater fool than Jane Eyre had never breathed the breath of life; that a more fantastic idiot had never surfeited herself on sweet lies, and swallowed poison as if it were nectar. "You," I said, "a favourite with Mr. Rochester? You're gifted with the power of pleasing him? You're of importance to him in any way? Go!--your folly sickens me. And you have derived pleasure from occasional tokens of preference--equivocal tokens shown by a gentleman of family and a man of the world to dependent and novice. How dared you? Poor stupid dupe! Could not even self-interest make you wiser? You repeated to yourself this morning the brief scene of last night? Cover your face and be ashamed! He said something in praise of your eyes, did he? Blind puppy! Open their bleared lids and look on your own accursed senselessness! It does no good to no woman to be flattered by her superior, who cannot possibly intend to marry her; and it is madness in all women to let a secret love kindle within them, which, if unreturned and unknown, must devour the life that feeds it; and if discovered and responded to, must lead into miry wilds whence there is no extrication. "Listen, then, Jane Eyre, to your sentence: tomorrow, place the glass before you, and draw in chalk your own pictures, faithfully, without softening on defect; omit no harsh line, smooth away no displeasing irregularity; write under it, 'Portrait of a Governess, disconnected, poor, and plain.' "Afterwards, take a piece of smooth ivory--you have one prepared in your drawing-box: take your palette, mix your freshest, finest, clearest tints; choose your most delicate camel-hair pencils; delineate carefully the loveliest face you can imageine; paint it in your softest shades and sweetest lines, according to the description given by Mrs. Fairfax of Blanche Ingram; remember the raven ringlets, the oriental eye--What! you revert to Mr. Rochester as a model! Order! No snivel!--no sentiment!--no regret! I will endure only sense and resolution... "Whenever, in the future, you should chance to fancy Mr. Rochester thinks well of you, take out these two pictures and compare them--say, "Mr. Rochester might probably win that noble lady's love, if he chose to strive for it; is it likely he would waste a serious thought on this indignent and insignifican plebian?" "I'll do it," I resolved; and having framed this determination, I grew calm, and fell asleep.

The evil habit of seeking God-and effectively prevents us from finding God in full revelation. In the "and" lies our great woe. If we omit the "and" we shall soon find God, and in Him we shall find that for which we have all our lives been secretly longing.

When history textbooks leave out the Arawaks, they offend Native Americans. When they omit the possibility of African and Phoenician precursors to Columbus, they offend African Americans. When they glamorize explorers such as de Soto just because they were white, our histories offend all people of color. When they leave out Las Casas, they omit an interesting idealist with whom we all might identify. When they glorify Columbus, our textbooks prod us toward identifying with the oppressor. When textbook authors omit the causes and process of European world domination, they offer us a history whose purpose must be to keep us unaware of the important questions. Perhaps worst of all, when textbooks paint simplistic portraits of a pious, heroic Columbus, they provide feel-good history that bores everyone.

The Sweat and the Furrow was Silas Weekley being earthly and spade-conscious all over seven hundred pages. The situation, to judge from the first paragraph, had not materially changed since Silas's last book: mother lying-in with her eleventh upstairs, father laid-out after his ninth downstairs, eldest son lying to the Government in the cow-shed, eldest daughter lying with her lover in the the hayloft, everyone else lying low in the barn. The rain dripped from the thatch, and the manure steamed in the midden. Silas never omitted the manure. It was not Silas's fault that its steam provided the only uprising element in the picture. If Silas could have discovered a brand of steam that steamed downwards, Silas would have introduced it.

He turned away from the wall and lay on his back instead. He was tired and he wanted to sleep. Every time he tried, the past pushed in. He didn't like it. It wasn't the real past, anyway, it was a sweeter, happier version, a half-lie, with all the pleasures and none of the pains. It was a trick, a falsehood that omitted its own ugliest parts and pretended to be something it wasn't, the way the past liked to do.

You are asking us to lie, Colonel?" "I am asking you to omit. Surely, amidst the...the infinite gradations of human venality, that particular sin ranks low." The old man kneaded the folds of his throat. "What happened out there belongs out there. The jungle has it; let the jungle keep it...

When two people produce entirely different memories of the same event, observers usually assume that one of them is lying. […] But most of us, most of the time, are neither telling the whole truth nor intentionally deceiving. We aren’t lying; we are self-justifying. All of us, as we tell our stories, add details and omit inconvenient facts; we give the tale a small, self-enhancing spin; that spin goes over so well that the next time we add a slightly more dramatic embellishment; we justify that little white lie as making the story better and clearer – until what we remember may not have happened that way, or even may not have happened at all. […] History is written by the victors, and when we write our own histories, we do so just as the conquerors of nations do: to justify our actions and make us look and feel good about ourselves and what we did or what we failed to do. If mistakes were made, memory helps us remember that they were made by someone else.

If we are inclined to forget how much there is in the world besides that which we anticipate, then works of art are perhaps a little to blame, for in them we find at work the same process of simplification or selection as in the imagination. Artistic accounts include severe abbreviations of what reality will force upon us. A travel book may tell us, for example, that the narrator journeyed through the afternoon to reach the hill town of X and after a night in its medieval monastery awoke to a misty dawn. But we never simply 'journey through an afternoon'. We sit in a train. Lunch digests awkwardly within us. The seat cloth is grey. We look out the window at a field. We look back inside. A drum of anxieties resolves in our consciousness. We notice a luggage label affixed to a suitcase in a rack above the seats opposite. We tap a finger on the window ledge. A broken nail on an index finger catches a thread. It starts to rain. A drop wends a muddy path down the dust-coated window. We wonder where our ticket might be. We look back at the field. It continues to rain. At last, the train starts to move. It passes an iron bridge, after which it inexplicably stops. A fly lands on the window And still we may have reached the end only of the first minute of a comprehensive account of the events lurking within the deceptive sentence 'He journeyed through the afternoon'. A storyteller who provides us with such a profusion of details would rapidly grow maddening. Unfortunately, life itself often subscribes to this mode of storytelling, wearking us out with repetitions, misleading emphases[,] and inconsequential plot lines. It insists on showing us Burdak Electronics, the safety handle in the car, a stray dog, a Christmas card[,] and a fly that lands first on the rim and then the centre of a laden ashtray. Which explains the curious phenomenon whereby valuable elements may be easier to experience in art and in anticipation than in reality. The anticipatory and artistic imaginations omit and compress; they cut away the periods of boredom and direct our attention to critical moments, and thus, without either lying or embellishing, they lend to life a vividness and a coherence that it may lack in the distracting woolliness of the present.

For example, we have been told that those of us who drink a moderate amount of alcohol tend to be in better health. That is a correlation. Does this mean drinking a moderate amount will improve one’s health—a causation? Perhaps not. It could be that good health causes people to drink a moderate amount. Social scientists call this reverse causation. Or it could be that there is an independent factor that causes both moderate drinking and good health. Perhaps spending a lot of time with friends leads to both moderate alcohol consumption and good health. Social scientists call this omitted-variable bias.

Then the Yogi suddenly fell silent, and when I looked puzzled he shrugged and said: ‘Don’t you see yourself where the fault lies?’ But I could not see it. At this point he recapitulated with astonishing exactness everything he had learned from me by his questioning. He went back to the first signs of fatigue, repugnance, and intellectual constipation, and showed me that this could have happened only to someone who had submerged himself disproportionately in his studies and that it was high time for me to recover my self-control, and to regain my energy with outside help. Since I had taken the liberty of discontinuing my regular meditation exercises, he pointed out, I should at least have realized what was wrong as soon as the first evil consequences appeared, and should have resumed meditation. He was perfectly right. I had omitted meditating for quite a while on the grounds that I had no time, was too distracted or out of spirits, or too busy and excited with my studies. Moreover, as time went on I had completely lost all awareness of my continuous sin of omission. Even now, when I was desperate and had almost run aground, it had taken an outsider to remind me of it. As a matter of fact, I was to have the greatest difficulty snapping out of this state of neglect. I had to return to the training routines and beginners’ exercises in meditation in order gradually to relearn the art of composing myself and sinking into contemplation.” With a small sigh the Magister ceased pacing the room. “That is what happened to me, and to this day I am still a little ashamed to talk about it. But the fact is, Joseph, that the more we demand of ourselves, or the more our task at any given time demands of us, the more dependant we are on meditation as a wellspring of energy, as the ever-renewing concord of mind and soul. And – I could if I wished give you quite a few more examples of this – the more intensively a task requires our energies, arousing and exalting us at one time, tiring and depressing us at another, the more easily we may come to neglect this wellspring, just as when we are carried away by some intellectual work we easily forget to attend to the body. The really great men in the history of the world have all either known how to meditate or have unconsciously found their way to the place to which meditation leads us. Even the most vigorous and gifted among the others all failed and were defeated in the end because their task or their ambitious dream seized hold of them, made them into persons so possessed that they lost the capacity for liberating themselves from present things, and attaining perspective. Well, you know all this; it’s taught during the first exercises, of course. But it is inexorably true. How inexorably true it is, one realizes only after having gone astray.