Terry Thomas Quotes

He lives vividly in her recollections, however, and his memory is etched on her soul.

Although her eyes are neither golden nor heavenly blue, Terri Stambaugh has the vision of an angel, for she sees through you and knows your truest heart, but loves you anyway, in spite of all the ways that you have fallen from a state of grace.

There are people who fantasize about suicide, and paradoxically, these fantasies can be soothing because they usually involve either fantasizing about others' reactions to one's suicide or imagining how death would be a relief from life's travails. In both cases, an aspect of the fantasy is to exert control, either over others' views or toward life's difficulties. The writer A. Alvarez stated, " There people ... for whom the mere idea of suicide is enough; they can continue to function efficiently and even happily provided they know they have their own, specially chosen means of escape always ready..." In her riveting 2008 memoir of bipolar disorder, Manic, Terri Cheney opened the book by stating, "People... don't understand that when you're seriously depressed, suicidal ideation can be the only thing that keeps you alive. Just knowing there's an out--even if it's bloody, even if it's permanent--makes the pain bearable for one more day." This strategy appears to be effective for some people, but only for a while. Over longer periods, fantasizing about death leaves people more depressed and thus at higher risk for suicide, as Eddie Selby, Mike Amestis, and I recently showed in a study on violent daydreaming. A strategy geared toward increased feelings of self-control (fantasizing about the effects of one's suicide) "works" momentarily, but ultimately backfires by undermining feelings of genuine self-control in the long run.

We usually recognize a beginning. Endings are more difficult to detect. Most often, they are realized only after reflection. Silence. We are seldom conscious when silence begins—it is only afterward that we realize what we have been a part of. In the night journeys of Canada geese, it is the silence that propels them. Thomas Merton writes, “Silence is the strength of our interior life.… If we fill our lives with silence, then we will live in hope.

And it’d be very hard to make up something as strange as the Dutch tulipmania in the seventeenth century, for example. Or the mysterious case of Thomas Clapper. Or the entire civic history of Seattle, Washington.

The Dark Tower books, like most long fantasy tales written by men and women of my generation (The Chronicles of Thomas Covenant, by Stephen Donaldson, and The Sword of Shannara, by Terry Brooks, are just two of many), were born out of Tolkien’s.

Thanks, Terry, so much for letting God use you - I'm really enjoying life with Him now.

Thomas,” Inez interrupted with exasperation. “I’m trying to tell you I love you.” “You do?” he asked, a smile spreading halfway across his face. “But then why did you tell Terri that you wanted to delay the turn?” “It wasn’t you. It was because of the pain involved,” she said with a grimace and then admitted, “I don’t like pain, Thomas. I mean I’m practically phobic about it. My whole life, I’ve avoided any situation that might involve pain. My dentist even has to gas me to fill a cavity.” Inez shrugged unhappily. “I probably would have delayed and put it off as long as I possibly could if you hadn’t had to change me to save my life. In truth, Blondie probably did us both a favor by precipitating the events that forced you to turn me.

lead to nonhuman “persons” and “nonperson” humans, unhinging the existing argument behind intrinsic sanctity of human life and paving the way for such things as harvesting organs from people like Terry Schiavo whenever the loss of cognitive ability equals the dispossession of “personhood.

The dominant literary mode of the twentieth century has been the fantastic. This may appear a surprising claim, which would not have seemed even remotely conceivable at the start of the century and which is bound to encounter fierce resistance even now. However, when the time comes to look back at the century, it seems very likely that future literary historians, detached from the squabbles of our present, will see as its most representative and distinctive works books like J.R.R. Tolkien’s The Lord of the Rings, and also George Orwell’s Nineteen Eighty-Four and Animal Farm, William Golding’s Lord of the Flies and The Inheritors, Kurt Vonnegut’s Slaughterhouse-Five and Cat’s Cradle, Ursula Le Guin’s The Left Hand of Darkness and The Dispossessed, Thomas Pynchon’s The Crying of Lot-49 and Gravity’s Rainbow. The list could readily be extended, back to the late nineteenth century with H.G. Wells’s The Island of Dr Moreau and The War of the Worlds, and up to writers currently active like Stephen R. Donaldson and George R.R. Martin. It could take in authors as different, not to say opposed, as Kingsley and Martin Amis, Anthony Burgess, Stephen King, Terry Pratchett, Don DeLillo, and Julian Barnes. By the end of the century, even authors deeply committed to the realist novel have often found themselves unable to resist the gravitational pull of the fantastic as a literary mode. This is not the same, one should note, as fantasy as a literary genre – of the authors listed above, only four besides Tolkien would find their works regularly placed on the ‘fantasy’ shelves of bookshops, and ‘the fantastic’ includes many genres besides fantasy: allegory and parable, fairy-tale, horror and science fiction, modern ghost-story and medieval romance. Nevertheless, the point remains. Those authors of the twentieth century who have spoken most powerfully to and for their contemporaries have for some reason found it necessary to use the metaphoric mode of fantasy, to write about worlds and creatures which we know do not exist, whether Tolkien’s ‘Middle-earth’, Orwell’s ‘Ingsoc’, the remote islands of Golding and Wells, or the Martians and Tralfa-madorians who burst into peaceful English or American suburbia in Wells and Vonnegut. A ready explanation for this phenomenon is of course that it represents a kind of literary disease, whose sufferers – the millions of readers of fantasy – should be scorned, pitied, or rehabilitated back to correct and proper taste. Commonly the disease is said to be ‘escapism’: readers and writers of fantasy are fleeing from reality. The problem with this is that so many of the originators of the later twentieth-century fantastic mode, including all four of those first mentioned above (Tolkien, Orwell, Golding, Vonnegut) are combat veterans, present at or at least deeply involved in the most traumatically significant events of the century, such as the Battle of the Somme (Tolkien), the bombing of Dresden (Vonnegut), the rise and early victory of fascism (Orwell). Nor can anyone say that they turned their backs on these events. Rather, they had to find some way of communicating and commenting on them. It is strange that this had, for some reason, in so many cases to involve fantasy as well as realism, but that is what has happened.

I lived in New York City back in the 1980s, which is when the Bordertown series was created. New York was a different place then -- dirtier, edgier, more dangerous, but also in some ways more exciting. The downtown music scene was exploding -- punk and folk music were everywhere -- and it wasn't as expensive to live there then, so a lot of young artists, musicians, writers, etc. etc. were all living and doing crazy things in scruffy neighborhoods like the East Village. I was a Fantasy Editor for a publishing company back then -- but in those days, "fantasy" to most people meant "imaginary world" books, like Tolkien's Lord of the Rings. A number of the younger writers in the field, however, wanted to create a branch of fantasy that was rooted in contemporary, urban North America, rather than medieval or pastoral Europe. I'd already been working with some of these folks (Charles de Lint, Emma Bull, etc.), who were writing novels that would become the foundations for the current Urban Fantasy field. At the time, these kinds of stories were considered so strange and different, it was actually hard to get them into print. When I was asked by a publishing company to create a shared-world anthology for Young Adult readers, I wanted to create an Urban Fantasy setting that was something like a magical version of New York...but I didn't want it to actually be New York. I want it to be any city and every city -- a place that anyone from anywhere could go to or relate to. The idea of placing it on the border of Elfland came from the fact that I'd just re-read a fantasy classic called The King of Elfland's Daughter by the Irish writer Lord Dunsany. I love stories that take place on the borderlands between two different worlds...and so I borrowed this concept, but adapted it to a modern, punky, urban setting. I drew upon elements of the various cities I knew best -- New York, Boston, London, Dublin, maybe even a little of Mexico City, where I'd been for a little while as a teen -- and scrambled them up and turned them into Bordertown. There actually IS a Mad River in southern Ohio (where I went to college) and I always thought that was a great name, so I imported it to Bordertown. As for the water being red, that came from the river of blood in the Scottish folk ballad "Thomas the Rhymer," which Thomas must cross to get into Elfland. [speaking about the Borderland series she "founded" and how she came up with the setting. Link to source; Q&A with Holly, Ellen & Terri!]

afraid of your

A lot of Christian creatives are skeptical of other Christians, too. Many creative believers we’ve talked to feel undervalued in the church, so much so that the church no longer feels like home for them. It seems the only time the church needs them is when they want someone “artsy” to decorate the sanctuary for the Christmas Spectacular, or when they need a “creative” to be onstage to show the congregation that they can “relate” to the culture and appeal to those “other” generations.

If sin is loving something more than God, then idolatry is what happens when we apply creativity to this twisted love. Idolatry is the prideful act of adding imagination to our rebellion in order to create something to take God’s place in our lives. Creativity and idolatry come as a package deal. Idolatry is what happens when image bearers become image makers with creation’s images. It’s why creativity so quickly became idolatry’s handmaiden after the fall. In the chaos of cosmic treason, those made in the likeness of God fashion replacement gods in their own shattered likeness through their own misplaced creativity.

such figures as Bill Clinton, Al Gore, Joe Lieberman, and Terry McAuliffe, has long been pushing the party to forget blue-collar voters and concentrate instead on recruiting affluent, white-collar professionals who are liberal on social issues. The larger interests that the DLC wants desperately to court are corporations, capable of generating campaign contributions far outweighing anything raised by organized labor. The way to collect the votes and—more important—the money of these coveted constituencies, “New Democrats” think, is to stand rock-solid on, say, the pro-choice position while making endless concessions on economic issues, on welfare, NAFTA, Social Security, labor law, privatization, deregulation, and the rest of it. Such Democrats explicitly rule out what they deride as “class warfare” and take great pains to emphasize their friendliness to business interests. Like the conservatives, they take economic issues off the table. As for the working-class voters who were until recently the party’s very backbone, the DLC figures they will have nowhere else to go; Democrats will always be marginally better on economic issues than Republicans. Besides, what politician in this success-worshiping country really wants to be the voice of poor people? Where’s the soft money in that?

Mac, where is Jonas?” “On the balcony, probing your daughter’s mouth for cavities.” “Good, I need to—wait, did you say cavities?” “Correct. Jonas is going back to school to become a dentist.” “A dentist? No, he cannot do this. I spent the entire afternoon meeting with our new attorney, Thomas Cubit … we drew up papers!” Masao pushed past Mac, briefcase in hand. “Jonas, you cannot go to dental school, I need you at the Institute.” “Then make him a partner,” Terry said, stepping into the living room. “I did, Mac too. All four of us … equal partners.” “Four equal partners—and not a dime between us,” Mac surmised.

What rationalism from d’Alembert to Dawkins is loath to acknowledge is that human rationality is a corporeal one. We think as we do roughly because of the kind of bodies we have, as Thomas Aquinas noted. Reason is authentically rational only when it is rooted in what lies beyond itself. It must find its home in what is other than reason, which is not to say in what is inimical to it. Any form of reason which grasps itself purely in terms of ideas, and then fumbles for some less cerebral way in which to connect with the sensory world, is debilitated from the outset.

Do what you should do, when you should do it, whether you feel like it or not.” ~ Thomas Huxley

online bidding was taking place. Lorraine had Terri Thomas give a shout-out to the event with a nice article about how online bidding helped build the beginning

The commercial genre which has developed from Tolkien is probably the most dismaying effect of all. I grew up in a world where Joyce was considered to be the best Anglophone writer of the 20th century. I happen to believe that Faulkner is better, while others would pick Conrad, say. Thomas Mann is an exemplary giant of moral, mythic fiction. But to introduce Tolkien's fantasy into such a debate is a sad comment on our standards and our ambitions. Is it a sign of our dumber times that Lord of the Rings can replace Ulysses as the exemplary book of its century? Some of the writers who most slavishly imitate him seem to be using English as a rather inexpertly-learned second language. So many of them are unbelievably bad that they defy description and are scarcely worth listing individually. Terry Pratchett once remarked that all his readers were called Kevin. He is lucky in that he appears to be the only Terry in fantasy land who is able to write a decent complex sentence. That such writers also depend upon recycling the plots of their literary superiors and are rewarded for this bland repetition isn't surprising in a world of sensation movies and manufactured pop bands. That they are rewarded with the lavish lifestyles of the most successful whores is also unsurprising. To pretend that this addictive cabbage is anything more than the worst sort of pulp historical romance or western is, however, a depressing sign of our intellectual decline and our free-falling academic standards.

Tolkien explains, “We make … because we are made: and not only made, but made in the image and likeness of a Maker.”12 Our creativity, therefore, relies on and submits to the One whose image we reveal.

This is why St. Augustine’s famous prayer applies to all of us and to our creativity: “because you have made us for yourself, and our heart is restless until it rests in you.

This is due partially, I think, to the Democratic Party’s more or-less official response to its waning fortunes. The Democratic Leadership Council (DLC), the organization that produced such figures as Bill Clinton, Al Gore, Joe Lieberman, and Terry McAuliffe, has long been pushing the party to forget blue-collar voters and concentrate instead on recruiting affluent, white-collar professionals who are liberal on social issues.

Women judge each other, compare themselves to each other. That, my friend, is the tragedy.

Wrinkles were the glorified etchings of a life well lived. They told a story. When you let the world see them, you were sharing yourself.

they were oblivious to my presence.

hands on my shoulders, and looked at

Neil Gaiman succinctly puts it, “When things get tough, this is what you should do: Make good art.