Themes For Quotes

Ultimately, your theme will find you. You don't have to go looking for it.

All morning I struggled with the sensation of stray wisps of one world seeping through the cracks of another. Do you know the feeling when you start reading a new book before the membrane of the last one has had time to close behind you? You leave the previous book with ideas and themes -- characters even -- caught in the fibers of your clothes, and when you open the new book, they are still with you.

Once the others were below, Hazel and Leo faced each other awkwardly. They were alone except for Coach Hedge, who was back on the quarterdeck singing the Pokémon theme song. The coach had changed the words to: Gotta Kill ’Em All, and Leo really didn’t want to know why.

At present I absolutely want to paint a starry sky. It often seems to me that night is still more richly coloured than the day; having hues of the most intense violets, blues and greens. If only you pay attention to it you will see that certain stars are lemon-yellow, others pink or a green, blue and forget-me-not brilliance. And without my expatiating on this theme it is obvious that putting little white dots on the blue-black is not enough to paint a starry sky.

If there is a God, he is within. You don't ask God to give you things, you depend on God for your inner theme.

If we shadows have offended, Think but this, and all is mended, That you have but slumbered here While these visions did appear. And this weak and idle theme, No more yielding but a dream, Gentles, do not reprehend: If you pardon, we will mend: And, as I am an honest Puck, If we have unearned luck Now to 'scape the serpent's tongue, We will make amends ere long; Else the Puck a liar call; So, good night unto you all. Give me your hands, if we be friends, And Robin shall restore amends.

NEVER BE AFRAID TO DART AROUND IN PUBLIC, HUMMING THE MISSION: IMPOSSIBLE THEME SONG. —T-SHIRT

I foresee no possibility of venturing into themes showing a closer view of reality for a long time to come. The public itself will not have it. What it wants is a gun and a girl.

It is remarkable how a man cannot summarize his thoughts in even the most general sort of way without betraying himself completely, without putting his whole self into it, quite unawares, presenting as if in allegory the basic themes and problems of his life.

A library in the middle of a community is a cross between an emergency exit, a life-raft and a festival. They are cathedrals of the mind; hospitals of the soul; theme parks of the imagination. On a cold rainy island, they are the only sheltered public spaces where you are not a consumer, but a citizen instead

--> This is thy hour O Soul, thy free flight into the wordless, Away from books, away from art, the day erased, the lesson     done, Thee fully forth emerging, silent, gazing, pondering the     themes thou lovest best, Night, sleep, death and the stars. — Walt Whitman, “A Clear Midnight,” Leaves of Grass. Originally published: July 4, 1855.

But that was life: Nobody got a guided tour to their own theme park. You had to hop on the rides as they presented themselves, never knowing whether you would like the one you were in line for...or if the bastard was going to make you throw up your corn dog and your cotton candy all over the place.

Because with Charlie, nothing was ever easy. Everything was windswept and octagonal and finger-combed. Everything was difficult and odd, and the theme songs all had minor chords.

There are only a few notes. Just variations on a theme.

Let’s get to know each other. My name’s William, William More, but you can call me Willy. I’m an engineer-chemist who graduated from MIT. So . . . but you’re all alike to me . . . of course, you would be . . . you’re robots. And all your names are that sort of, um . . . codes, technical numbers . . . I need some marker where I can pick you out. Well, well, to you I’ll call . . .,” and Willy pondered for a moment, “Gumball, yes, Gumball! Do you mind?” “No, sir, actually no,” CSE-TR-03 said, agreeing with its new given name. “Ah, that’s wonderful. And then you’re Darwin,” Willy said, accosting the second robot. “Look what a nice name—Darwin! What do you say, eh?” “What can I say, sir? I like it,” CSE-TR-02 agreed too. “Yes, a human name with a past . . . You and Gumball . . . are from the same family, the Methanesons!” “It turns out thus, sir,” Darwin confirmed its family belonging. “And you’re like Larry. You’re Larry. Do you know that?” More addressed the next robot in line. “Yes, sir, just now I learned that,” the third robot said, accepted its name as well.

And thou, Melkor, shalt see that no theme may be played that hath not its uttermost source in me, nor can any alter the music in my despite. For he that attempteth this shall prove but mine instrument in the devising of things more wonderful, which he himself hath not imagined.

A film is - or should be - more like music than like fiction. It should be a progression of moods and feelings. The theme, what's behind the emotion, the meaning, all that comes later.

Write about small, self-contained incidents that are still vivid in your memory. If you remember them, it's because they contain a larger truth that your readers will recognize in their own lives. Think small and you'll wind up finding the big themes in your family saga.

The world is full of abandoned meanings. In the commonplace I find unexpected themes and intensities.

Perhaps tomorrow had never been meant for them at all. Perhaps tomorrow belonged to God.

To produce a mighty book, you must choose a mighty theme.

His understanding of the theme of the book made me hot. Right then and there, I wanted to toss him down on the floor, crawl on top of him like the Jane Austen reader I was.

I had a close encounter with an alien last week. He returned to visit us and was amazed we were still here.

If my work has a theme, I suspect it is a simple one: that most human beings are inescapably alone, and therein lies their tragedy.

Pythagoras has had me going round in circles for years.” ― Anthony Merrydew

The demise of the human race rests mainly on the shoulders of stupidity, and the abuse of power in the hands of those we have elected.

There are patterns which emerge in one's life, circling and returning anew, an endless variation of a theme

Science Fiction, is the last great escape.

To produce a mighty book, you must choose a mighty theme. No great and enduring volume can ever be written on the flea, though many there be who have tried it.

Above all, mine is a love story. Unlike most love stories, this one involves chance, gravity, a dash of head trauma. It began with a coin toss. The coin came up tails. I was heads. Had it gone my way, there might not be a story at all. Just a chapter, or a sentence in a book whose greater theme had yet to be determined. Maybe this chapter would've had the faintest whisper of love about it. But maybe not. Sometimes, a girl needs to lose.

A genius doesn't adjust his treatment of a theme to a tyrant's taste

The Christ within who is our hope of glory is not a matter of theological debate or philosophical speculation. He is not a hobby, a part-time project, a good theme for a book, or a last resort when all human effort fails. He is our life, the most real fact about us. He is the power and wisdom of God dwelling within us.

A library in the middle of a community is a cross between an emergency exit, a life raft and a festival. They are cathedrals of the mind; hospitals of the soul; theme parks of the imagination.

Fine, but if you get yourself killed I reserve the right to flush your ashes down the toilet while I sing the theme from Titanic.

Were all the geniuses of history to focus on this single theme, they could never fully express their bafflement at the darkness of the human mind. No person would give up even an inch of their estate, and the slightest dispute with a neighbor can mean hell to pay; yet we easily let others encroach on our lives—worse, we often pave the way for those who will take it over. No person hands out their money to passersby, but to how many do each of us hand out our lives! We’re tight-fisted with property and money, yet think too little of wasting time, the one thing about which we should all be the toughest misers.

Sounds like someone's hit the terrible twos." "Threes actually," Quil corrected. "You missed the party. Princess theme. She made me wear a crown, and then Emily suggested they all try out her new play makeup on me." "Wow, I'm REALLY sorry I wasn't around to see that." Don't worry, Emily has pictures. Actually, I look pretty hot.

I've never understood why people pick Noah's ark for a nursery theme anyway." Andrea said breezily... Really", I snorted. "I mean, who wants reminders of a natural disaster, literally of biblical portions, on their baby's walls? What are you supposed to say, 'Oh, drowning sinners, isn't that precious?

Of course it didn’t make sense… knowledge was finite, imagination was not.

Give me one good reason why I shouldn't chop him into worthless-bastard-themed confetti. --Isabelle Lightwood

My only experience with dances was what I had seen on TV, but it really wasn’t that far off. The theme appeared to be “Crepe Paper in the Gymnasium,” and they had mastered it perfectly.

Fools are my theme, let satire be my song.

In every bit of honest writing in the world, there is a base theme. Try to understand men, if you understand each other you will be kind to each other. KNOWING A MAN WELL NEVER LEADS TO HATE and nearly always leads to love. There are shorter means, many of them. There is writing promoting social change, writing punishing injustice, writing in celebration of heroism, but always that base theme. TRY TO UNDERSTAND EACH OTHER!

I have been happy, though in a dream. I have been happy-and I love the theme: Dreams! in their vivid colouring of life As in that fleeting, shadowy, misty strife

Questioning the ostensibly unquestionable premises of our way of life is arguably the most urgent of services we owe our fellow humans and ourselves.

Nobody can have the consolations of religion or philosophy unless he has first experienced their desolations.

When you meet someone so different from yourself, in a good way, you don't even have to kiss to have fireworks go off. It's like fireworks in your heart all the time. I always wondered, do opposites really attract? Now I know for sure they do. I'd grown up going to the library as often as most people go to the grocery store. Jackson didn't need to read about exciting people or places. He went out and found them, or created excitement himself if there wasn't any to be found. The things I like are pretty simple. Burning CDs around themes, like Songs to Get You Groove On and Tunes to Fix a Broken Heart; watching movies; baking cookies; and swimming. It's like I was a salad with a light vinaigrette, and Jackson was a platter of seafood Cajun pasta. Alone, we were good. Together, we were fantastic.

I know the outer world as well as you do, and I judge it. You know nothing of my inner world, and yet you presume to judge that world.

Lady gagas "hair" is my theme song.

The central theme of Anna Karenina," he said, "is that a rural life of moral simplicity, despite its monotony, is the preferable personal narrative to a daring life of impulsive passion, which only leads to tragedy." "That is a very long theme," the scout said. "It's a very long book," Klaus replied. [...] "Or maybe a daring life of impulsive passion leads to something else," the scout said, and in some cases this mysterious person was right. A daring life of impulsive passion is an expression which refers to people who follow what is in their hearts, and like people who prefer to follow their head, or follow a mysterious man in a dark blue raincoat, people who lead a daring life of impulsive passion end up doing all sorts of things.

People need routines. It's like a theme in music. But it also restricts your thoughts and actions and limits your freedom. It structures your priorities and in some cases distorts your logic.

I didn't want to tell the story of what makes two people come together, although that's a theme of great power and universality. I wanted to find out what it takes for two people to stay together for fifty years -- or more. I wanted to tell not the story of courtship, but the story of marriage.

It is simply wrong to begin with a theme, symbol or other abstract unifying agent, and then try to force characters and events to conform to it.

...I tell myself it does not matter what one reads--favorite authors, particular themes--as long as we read something. It is not even important to own the books.

Truly, all that was missing was Mission Impossible theme music, and if I was being honest, it was playing in my head anyway.

Lots of people think things would be better some other way. That's why the world's lousy with theme parks.

I suppose all of my films have a common theme. If I think about it, though, the only theme I can think of is really a question: Why can’t people be happier together?

When men talk about the agony of being men, they can never quite get away from the recurrent theme of self-pity. And when women talk about being women, they can never quite get away from the recurrent theme of blaming men.

One of the great tragedies of life is that men seldom bridge the gulf between practice and profession, between doing and saying. A persistent schizophrenia leaves so many of us tragically divided against ourselves. On the one hand, we proudly profess certain sublime and noble principles, but on the other hand, we sadly practise the very antithesis of these principles. How often are our lives characterised by a high blood pressure of creeds and an anaemia of deeds! We talk eloquently about our commitment to the principles of Christianity, and yet our lives are saturated with the practices of paganism. We proclaim our devotion to democracy, but we sadly practise the very opposite of the democratic creed. We talk passionately about peace, and at the same time we assiduously prepare for war. We make our fervent pleas for the high road of justice, and then we tread unflinchingly the low road of injustice. This strange dichotomy, this agonising gulf between the ought and the is, represents the tragic theme of man's earthly pilgrimage.

Do you know the feeling when you start reading a new book before the membrane of the last one has had time to close behind you? You leave the previous book with ideas and themes–characters even–caught in the fibers of your clothes, and when you open the new book, they are still with you

Most of the Bible is a history told by people living in lands occupied by conquering superpowers. It is a book written from the underside of power. It’s an oppression narrative. The majority of the Bible was written by a minority people living under the rule and reign of massive, mighty empires, from the Egyptian Empire to the Babylonian Empire to the Persian Empire to the Assyrian Empire to the Roman Empire. This can make the Bible a very difficult book to understand if you are reading it as a citizen of the the most powerful empire the world has ever seen. Without careful study and reflection, and humility, it may even be possible to miss central themes of the Scriptures.

I know now that a studied evasiveness has its own limitations, its own ways of inhibiting certain forms of happiness and pleasure. The pleasure of abiding. The pleasure of insistence, of persistence. The pleasure of obligation, the pleasure of dependency. The pleasures of ordinary devotion. The pleasure of recognizing that one may have to undergo the same realizations, write the same notes in the margin, return to the same themes in one’s work, relearn the same emotional truths, write the same book over and over again—not because one is stupid or obstinate or incapable of change, but because such revisitations constitute a life.

Our dreams and stories may contain implicit aspects of our lives even without our awareness. In fact, storytelling may be a primary way in which we can linguistically communicate to others—as well as to ourselves—the sometimes hidden contents of our implicitly remembering minds. Stories make available perspectives on the emotional themes of our implicit memory that may otherwise be consciously unavailable to us. This may be one reason why journal writing and intimate communication with others, which are so often narrative processes, have such powerful organizing effects on the mind: They allow us to modulate our emotions and make sense of the world.

Mountains seem to answer an increasing imaginative need in the West. More and more people are discovering a desire for them, and a powerful solace in them. At bottom, mountains, like all wildernesses, challenge our complacent conviction - so easy to lapse into - that the world has been made for humans by humans. Most of us exist for most of the time in worlds which are humanly arranged, themed and controlled. One forgets that there are environments which do not respond to the flick of a switch or the twist of a dial, and which have their own rhythms and orders of existence. Mountains correct this amnesia. By speaking of greater forces than we can possibly invoke, and by confronting us with greater spans of time than we can possibly envisage, mountains refute our excessive trust in the man-made. They pose profound questions about our durability and the importance of our schemes. They induce, I suppose, a modesty in us.

Attention is love, what we must give children, mothers, fathers, pets, our friends, the news, the woes of others. What we want to change we curse and then pick up a tool. Bless whatever you can with eyes and hands and tongue. If you can't bless it, get ready to make it new.

It’s good.’ She chirps the last bit as if that were all to say about a book: It’s good or it’s bad. I liked it or I didn’t. No discussions of the writing, the themes, the nuances, the structure. Just good or bad. Like a hot dog.

All over the world major museums have bowed to the influence of Disney and become theme parks in their own right. The past, whether Renaissance Italy or Ancient Egypt, is re-assimilated and homogenized into its most digestible form. Desperate for the new, but disappointed with anything but the familiar, we recolonize past and future. The same trend can be seen in personal relationships, in the way people are expected to package themselves, their emotions and sexuality, in attractive and instantly appealing forms.

Her face ... was a one-of-a-kind, a surprising variation on a familiar theme - a variation that made observers think, Yes - that would be another very nice way for people to look. What Beatrice had done with her face, actually, was what any plain girl could do. She overlaid it with dignity, suffering, intelligence, and a piquant dash of bitchiness.

There was Eru, the One, who in Arda is called Ilúvatar; and he made first the Ainur, the Holy Ones, that were the offspring of his thought, and they were with him before aught else was made. And he spoke to them, propounding to them themes of music; and they sang before him, and he was glad. But for a long while they sang only each alone, or but few together, while the rest hearkened; for each comprehended only that part of the mind of Ilúvatar from which he came, and in the understanding of their brethren they grew but slowly. Yet ever as they listened they came to deeper understanding, and increased in unison and harmony.

How to describe hell? Disembowelled landscape busy with suffering, incessant heat, permanent scarlet twilight, a swirling snowfall of ash, the stink of pain and the din of...if only, hell is two things: the absence of God and the presence of time. Infinite variations on that theme. Doesn't sound so bad, does it? Well, trust me.

I began to write fiction on the assumption that the true enemies of the novel were plot, character, setting and theme, and having once abandoned these familiar ways of thinking about fiction, totality of vision or structure was really all that remained.

When I was growing up, I didn't really know much about being popular or cliques or anything like that. In elementary school and middle school, you start to kind of realize what it's all about. There are cool kids, and then there's you, and you're just trying to figure out where you fit in.I learned a lot about acceptance and rejection,Those are the themes that you'll find spread throughout my music and weaved in throughout all of the lyrics. I really know what it's like to be accepted, and I also know what it's like to be rejected. And those are lessons I learned in Wyomissing.

She loved airports. She loved the smell, she loved the noise, and she loved the whole atmosphere as people walked around happily tugging their luggage, looking forward to going on their holidays or heading back home. She loved to see people arriving and being greeted with a big cheer by their families and she loved to watch them all giving each other emotional hugs. It was a perfect place for people-spotting. The airport always gave her a feeling of anticipation in the pit of her stomach as though she were about to do something special and amazing. Queuing at the boarding gate, she felt like she was waiting to go on a roller coaster ride at a theme park, like an excited little child.

My theme is memory, that winged host that soared about me one grey morning of war-time. These memories, which are my life—for we possess nothing certainly except the past—were always with me. Like the pigeons of St. Mark’s, they were everywhere, under my feet, singly, in pairs, in little honey-voiced congregations, nodding, strutting, winking, rolling the tender feathers of their necks, perching sometimes, if I stood still, on my shoulder or pecking a broken biscuit from between my lips; until, suddenly, the noon gun boomed and in a moment, with a flutter and sweep of wings, the pavement was bare and the whole sky above dark with a tumult of fowl. Thus it was that morning.

She knew with suddeness and ease that this moment would be with her always, within hand's reach of memory. She doubted if they all sensed it - they had seen the world - but even George was silent for a minute as they looked, and the scene, the smell, even the sound of the band playing a faintly recognisable movie theme, was locked forever in her, and she was at peace.

I’m beginning to sense a theme,” Mircea said, tossing his suit coat over a buckskin-covered chair. A moose head with huge, outspread antlers loomed over it, its bright glass eyes looking oddly lifelike in the low light. Mircea took in the room, his expression slightly repulsed yet fascinated. “I believe there is only one thing to say at this point.” What’s that?” Yee haw,” he said gravely, and took me down like a rodeo calf.

Yet if we would know God and for other's sake tell what we know we must try to speak of his love. All Christians have tried but none has ever done it very well. I can no more do justice to that awesome and wonder-filled theme than a child can grasp a star. Still by reaching toward the star the child may call attention to it and even indicate the direction one must look to see it. So as I stretch my heart toward the high shining love of God someone who has not before known about it may be encouraged to look up and have hope.

Welcome every morning with a smile. Look on the new day as another special gift from your Creator, another golden opportunity to complete what you were unable to finish yesterday. Be a self-starter. Let your first hour set the theme of success and positive action that is certain to echo through your entire day. Today will never happen again. Don't waste it with a false start or no start at all. You were not born to fail.

Then what is good? The obsessive interest in human affairs, plus a certain amount of compassion and moral conviction, that first made the experience of living something that must be translated into pigment or music or bodily movement or poetry or prose or anything that's dynamic and expressivee--that's what's good for you if you're at all serious in your aims. William Saroyan wrote a great play on this theme, that purity of heart is the one success worth having. "In the time of your life--live!" That time is short and it doesn't return again. It is slipping away while I write this and while you read it, the monosyllable of the clock is Loss, loss, loss, unless you devote your heart to its opposition.

The soul of wit may become the very body of untruth. However elegant and memorable, brevity can never, in the nature of things, do justice to all the facts of a complex situation. On such a theme one can be brief only by omission and simplification. Omission and simplification help us to understand - but help us, in many cases, to understand the wrong thing; for our comprehension may be only of the abbreviator's neatly formulated notions, not of the vast, ramifying reality from which these notions have been so arbitrarily abstracted.

Reasons we should get married: Because I love you. We both look good in black boots. I spent some time without you, and I didn’t like it. You make me happy. I make you laugh. I like the way you fight. You see through my masks. I really love you. You love me, too. (Though you’ve mostly said this while yelling, so perhaps I should have double-checked.) Army of tiny vigilantes. (I have name ideas.) Various political reasons that make sense but don’t fit with the theme of this list. I’m holding your handwriting hostage. You can have it back when you say yes.

When people dis fantasy—mainstream readers and SF readers alike—they are almost always talking about one sub-genre of fantastic literature. They are talking about Tolkien, and Tolkien's innumerable heirs. Call it 'epic', or 'high', or 'genre' fantasy, this is what fantasy has come to mean. Which is misleading as well as unfortunate. Tolkien is the wen on the arse of fantasy literature. His oeuvre is massive and contagious—you can't ignore it, so don't even try. The best you can do is consciously try to lance the boil. And there's a lot to dislike—his cod-Wagnerian pomposity, his boys-own-adventure glorying in war, his small-minded and reactionary love for hierarchical status-quos, his belief in absolute morality that blurs moral and political complexity. Tolkien's clichés—elves 'n' dwarfs 'n' magic rings—have spread like viruses. He wrote that the function of fantasy was 'consolation', thereby making it an article of policy that a fantasy writer should mollycoddle the reader. That is a revolting idea, and one, thankfully, that plenty of fantasists have ignored. From the Surrealists through the pulps—via Mervyn Peake and Mikhael Bulgakov and Stefan Grabiński and Bruno Schulz and Michael Moorcock and M. John Harrison and I could go on—the best writers have used the fantastic aesthetic precisely to challenge, to alienate, to subvert and undermine expectations. Of course I'm not saying that any fan of Tolkien is no friend of mine—that would cut my social circle considerably. Nor would I claim that it's impossible to write a good fantasy book with elves and dwarfs in it—Michael Swanwick's superb Iron Dragon's Daughter gives the lie to that. But given that the pleasure of fantasy is supposed to be in its limitless creativity, why not try to come up with some different themes, as well as unconventional monsters? Why not use fantasy to challenge social and aesthetic lies? Thankfully, the alternative tradition of fantasy has never died. And it's getting stronger. Chris Wooding, Michael Swanwick, Mary Gentle, Paul di Filippo, Jeff VanderMeer, and many others, are all producing works based on fantasy's radicalism. Where traditional fantasy has been rural and bucolic, this is often urban, and frequently brutal. Characters are more than cardboard cutouts, and they're not defined by race or sex. Things are gritty and tricky, just as in real life. This is fantasy not as comfort-food, but as challenge. The critic Gabe Chouinard has said that we're entering a new period, a renaissance in the creative radicalism of fantasy that hasn't been seen since the New Wave of the sixties and seventies, and in echo of which he has christened the Next Wave. I don't know if he's right, but I'm excited. This is a radical literature. It's the literature we most deserve.

If Gone With the Wind has a theme it is that of survival. What makes some people come through catastrophes and others, apparently just as able, strong, and brave, go under? It happens in every upheaval. Some people survive; others don't. What qualities are in those who fight their way through triumphantly that are lacking in those that go under? I only know that survivors used to call that quality 'gumption.' So I wrote about people who had gumption and people who didn't.

When did you first feel like a grown woman and not a girl?” We wrote down our answers and shared them, first in pairs, then in larger groups. The group of women was racially and economically diverse, but the answers had a very similar theme. Almost everyone first realized they were becoming a grown woman when some dude did something nasty to them. “I was walking home from ballet and a guy in a car yelled, ‘Lick me!’” “I was babysitting my younger cousins when a guy drove by and yelled, ‘Nice ass.’” There were pretty much zero examples like “I first knew I was a woman when my mother and father took me out to dinner to celebrate my success on the debate team.” It was mostly men yelling shit from cars. Are they a patrol sent out to let girls know they’ve crossed into puberty? If so, it’s working.

Well, I’ve been a musician my whole life. When I was two, I would sing the theme from Star Wars in my crib; my mom taped it for proof. Then, when I was five, I asked for a violin. No one knew why I would want one, but my wish was granted and I ended up a classically trained fiddler by age 12. The only problem with that was, when you’re a classical violinist, everybody expects you to be satisfied with playing Tchaikovsky for the rest of your life, and saying you want to play jazz, rock, write songs, sing your songs, hook up your fiddle to a guitar amp, sleep with your 4-track recorder, mess around with synths, dress like Tinkerbell in combat boots, AND play Tchaikovsky is equivalent to spitting on the Pope.

But once an original book has been written-and no more than one or two appear in a century-men of letters imitate it, in other words, they copy it so that hundreds of thousands of books are published on exactly the same theme, with slightly different titles and modified phraseology. This should be able to be achieved by apes, who are essentially imitators, provided, of course, that they are able to make use of language.

Her dad’s coming,” she said, voice shrill. “What?” we all said in unison. Tristan, Ayden and the fairy looked at me and said, “What?” “What?” I repeated, panicked and irritated at my lack of control in responding to a fairy I wasn’t supposed to see or hear. “What?” came their reply. “What?” I continued the theme of repetition because I lacked any form of explanation. Ayden held up a hand for silence. “Why are you ‘whatting’?” “What?” The hand again. “Okay, stop that,” Ayden said.

Above all, one hideous figure grew as familiar as if it had been before the general gaze from the foundations of the world - the figure of the sharp female called La Guillotine. It was the popular theme for jests; it was the best cure for headache, it infallibly prevented hair from turning gray, it imparted a peculiar delicacy to the complexion, it was the National Razor which shaved close: who kissed La Guillotine looked through the little window and sneezed into the sack.

Consider how common illness is, how tremendous the spiritual change that it brings, how astonishing, when the lights of health go down, the undiscovered countries that are then disclosed, what wastes and deserts of the soul a slight attack of influenza brings to view, what precipices and lawns sprinkled with bright flowers a little rise of temperature reveals, what ancient and obdurate oaks are uprooted in us by the act of sickness, how we go down in the pit of death and feel the waters of annihilation close above our heads and wake thinking to find ourselves in the presence of the angels and the harpers when we have a tooth out and come to the surface in the dentist's arm-chair and confuse his "Rinse the mouth-rinse the mouth" with the greeting of the Deity stooping from the floor of Heaven to welcome us - when we think of this, as we are so frequently forced to think of it, it becomes strange indeed that illness has not taken its place with love and battle and jealousy among the prime themes of literature

Do me a favor?” he whispered. Beth's hold tightened on his hand. ”Anything, what do you need?” ”Hum the Jeopardy theme.” There was a pause.Then Beth burst out laughing and swatted his shoulder. ”Wrath-” ”Actually,take your clothes off and hum it while doing some belly grooves.” As his shellan bent down and kissed his forehead, he looked up at her through his wraparounds. ”You think I'm kidding? Come on, we both need the distraction. And I promise I'll tip well” "You never carry cash." He extended his tongue and swept it over his upper lip. "I plan on working it off.

Its hard to stay up. Its been a long long day And you've got the sandman at your door. But hang on, leave the TV on and lets do it anyway. Its ok. You can always sleep through work tomorrow. Ok? Hey, Hey, Tomorrow's just your future yesterday. Tell the clock on the wall, "Forget the wake up call." Cause the night's not nearly through. Wipe the sleep from your eyes. Give yourself a surprise. Let your worries wait another day. And if you stay too late at the bar, At least you made it out this far. So make up your mind and say, "Let's do it anyway!" Its Ok You can always sleep through work tomorrow, ok? Hey, Hey, Tomorrow's just your future yesterday. Life's too short to worry about the things that you can live without And I regret to say, the morning light is hours away. The world can be such a fright, But it belongs to us tonight. What's the point of going to bed? You look so lovely when your eyes are red. Tomorrow's just your future yesterday.

Rules?" said Roark. "Here are my rules: what can be done with one substance must never be done with another. No two materials are alike. No two sites on earth are alike. No two buildings have the same purpose. The purpose, the site, the material determine the shape. Nothing can be reasonable or beautiful unless it's made by one central idea, and the idea sets every detail. A building is alive, like a man. Its integrity is to follow its own truth, its one single theme, and to serve its own single purpose. A man doesn't borrow pieces of his body. A building doesn't borrow hunks of its soul. Its maker gives it the soul and every wall, window and stairway to express it.

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.

There are times when I long to sweep away half the things I am expected to learn; for the overtaxed mind cannot enjoy the treasure it has secured at the greatest cost. ... When one reads hurriedly and nervously, having in mind written tests and examinations, one's brain becomes encumbered with a lot of bric-a-brac for which there seems to be little use. At the present time my mind is so full of heterogeneous matter that I almost despair of ever being able to put it in order. Whenever I enter the region of my mind I feel like the proverbial bull in the china shop. A thousand odds and ends of knowledge come crashing about my head like hailstones, and when I try to escape them, theme goblins and college nixies of all sorts pursue me, until I wish – oh, may I be forgiven the wicked wish! – that I might smash the idols I came to worship.

Depressions and melancholy are often a cover for tremendous greed. At the beginning of an analysis there is often a depressed state of resignation-life has no meaning, there is no feeling of being in life. An exaggerated state can develop into complete lameness. Quite young people give the impression of having the resignation of a bitter old man or woman. When you dig into such a black mood you find that behind it there is overwhelming greed-for being loved, for being very rich, for having the right partner, for being the top dog, etc. Behind such a melancholic resignation you will often discover in the darkness a recurring theme which makes things very difficult, namely if you give such people one bit of hope, the lion opens its mouth and you have to withdraw, and then they put the lid on again, and so it goes on, back and forth.

Thus she returned to the theme of ‘before,’ but in a different way than she had at first. She said that we didn’t know anything, either as children or now, that we were therefore not in a position to understand anything, that everything in the neighborhood, every stone or piece of wood, everything, anything you could name, was already there before us, but we had grown up without realizing it, without ever even thinking about it. Not just us. Her father pretended that there had been nothing before. Her mother did the same, my mother, my father, even Rino… <…> They didn’t know anything, they wouldn’t talk about anything. Not Fascism, not the king. No injustice, no oppression, no exploitation … And they thought that what had happened before was past and, in order to live quietly, they placed a stone on top of it, and so, without knowing it, they continued it, they were immersed in the things of before, and we kept them inside us, too.

He knew that the very memory of the piano falsified still further the perspective in which he saw the elements of music, that the field open to the musician is not a miserable stave of seven notes, but an immeasurable keyboard (still almost entirely unknown) on which, here and there only, separated by the thick darkness of its unexplored tracts, some few among the millions of keys of tenderness, of passion, of courage, of serenity, which compose it, each one differing from all the rest as one universe differs from another, have been discovered by a few great artists who do us the service, when they awaken in us the emotion corresponding to the theme they have discovered, of showing us what richness, what variety lies hidden, unknown to us, in that vast, unfathomed and forbidding night of our soul which we take to be an impenetrable void.

Generally speaking, though, Americans have an inability to relax into sheer pleasure. Ours is an entertainment-seeking nation, but not necessarily a pleasure-seeking one. Americans spend billions to keep themselves amused with everything from porn to theme parks to wars, but that's not exactly the same thing as quiet enjoyment. Americans work harder and longer and more stressful hours than anyone in the world today. But...we seem to like it. Alarming statistics back this observation up, showing that many Americans feel more happy and fulfilled in their offices than they do in their own homes. Of course, we all inevitably work too hard, then we get burned out and have to spend the whole weekend in our pajamas, eating cereal straight out of the box and staring at the TV in a mild coma (which is the opposite of working, yes, but not exactly the same thing as pleasure). Americans don't really know how to do NOTHING. This is the cause of that great sad American stereotype-the overstressed executive who goes on vacation but who cannot relax.

One thing which even the most seasoned and discerning masters of the art of choice do not and cannot choose, is the society to be born into - and so we are all in travel, whether we like it or not. We have not been asked about our feelings anyway. Thrown into a vast open sea with no navigation charts and all the marker buoys sunk and barely visible, we have only two choices left: we may rejoice in the breath-taking vistas of new discoveries - or we may tremble out of fear of drowning. One option not really realistic is to claim sanctuary in a safe harbour; one could bet that what seems to be a tranquil haven today will be soon modernized, and a theme park, amusement promenade or crowded marina will replace the sedate boat sheds. The third option not thus being available, which of the two other options will be chosen or become the lot of the sailor depends in no small measure on the ship's quality and the navigation skills of the sailors. Not all ships are seaworthy, however. And so the larger the expanse of free sailing, the more the sailor's fate tends to be polarized and the deeper the chasm between the poles. A pleasurable adventure for the well-equipped yacht may prove a dangerous trap for a tattered dinghy. In the last account, the difference between the two is that between life and death.

Truth changes with the season of our emotions. It is the shadow that moves with the phases of our inner sun. When the nights falls, only our perception can guess where it hides in the dark. Within every solar system of the soul lies a plan of what truth is--- the design God has created, in our own unique story. This is as varying as the constellations, and as turning as the tide. It is not one truth we live to, but many. If we ever hope to determine if there is such a thing as truth, apart from cultural and personal preferences, we must acknowledge that we are then aiming to discover something greater than ourselves, something that transcends culture and individual inclinations. Some say that we must look beyond ourselves and outside of ourselves. However, we don’t need to look farther than what is already in each other. If there was any great plan from a higher power it is a simplistic, repetitious theme found in all religions; the basic core importance to unity comes from shared theological and humanistic virtues. Beyond the synagogue, mosques, temples, churches, missionary work, church positions and religious rituals comes a simple “message of truth” found in all of us, that binds theology---holistic virtues combined with purpose is the foundation of spiritual evolution. The diversity among us all is not divided truth, but the opportunity for unity through these shared values. Truth is the framework and roadmap of positive virtues. It unifies diversity when we choose to see it and use it. It is simple message often lost among the rituals, cultural traditions and socializing that goes on behind the chapel doors of any religion or spiritual theology. As we fight among ourselves about what religion, culture or race is right, we often lose site of the simple message any great orator has whispered through time----a simplistic story explaining the importance of virtues, which magically reemphasizes the importance of loving one another through service.

The cases described in this section (The Fear of Being) may seem extreme, but I have become convinced that they are not as uncommon as one would think. Beneath the seemingly rational exterior of our lives is a fear of insanity. We dare not question the values by which we live or rebel against the roles we play for fear of putting our sanity into doubt. We are like the inmates of a mental institution who must accept its inhumanity and insensitivity as caring and knowledgeableness if they hope to be regarded as sane enough to leave. The question who is sane and who is crazy was the theme of the novel One Flew Over The Cuckoo's Nest. The question, what is sanity? was clearly asked in the play Equus. The idea that much of what we do is insane and that if we want to be sane, we must let ourselves go crazy has been strongly advanced by R.D. Laing. In the preface to the Pelican edition of his book The Divided Self, Laing writes: "In the context of our present pervasive madness that we call normality, sanity, freedom, all of our frames of reference are ambiguous and equivocal." And in the same preface: "Thus I would wish to emphasize that our 'normal' 'adjusted' state is too often the abdication of ecstasy, the betrayal of our true potentialities; that many of us are only too successful in acquiring a false self to adapt to false realities." Wilhelm Reich had a somewhat similar view of present-day human behavior. Thus Reich says, "Homo normalis blocks off entirely the perception of basic orgonotic functioning by means of rigid armoring; in the schizophrenic, on the other hand, the armoring practically breaks down and thus the biosystem is flooded with deep experiences from the biophysical core with which it cannot cope." The "deep experiences" to which Reich refers are the pleasurable streaming sensations associated with intense excitation that is mainly sexual in nature. The schizophrenic cannot cope with these sensations because his body is too contracted to tolerate the charge. Unable to "block" the excitation or reduce it as a neurotic can, and unable to "stand" the charge, the schizophrenic is literally "driven crazy." But the neurotic does not escape so easily either. He avoids insanity by blocking the excitation, that is, by reducing it to a point where there is no danger of explosion, or bursting. In effect the neurotic undergoes a psychological castration. However, the potential for explosive release is still present in his body, although it is rigidly guarded as if it were a bomb. The neurotic is on guard against himself, terrified to let go of his defenses and allow his feelings free expression. Having become, as Reich calls him, "homo normalis," having bartered his freedom and ecstasy for the security of being "well adjusted," he sees the alternative as "crazy." And in a sense he is right. Without going "crazy," without becoming "mad," so mad that he could kill, it is impossible to give up the defenses that protect him in the same way that a mental institution protects its inmates from self-destruction and the destruction of others.