Point Quotes (displaying: 31 - 60 of 4598 quotes )
Are you a prude?' He seemed genuinely curious. 'No!' But after a second, I said, 'But may be compared to you, yes! I like my privacy. I get to decide who sees me naked. Do you get my point?' 'Yes. Objectively speaking, you have beautiful points.' I thought the top of my head would pop off... (Sookie Stackhouse & Claude, Dead in the Family)
The whole party followed, with the exception of Scythrop, who threw himself into his arm-chair, crossed his left foot over his right knee, placed the hollow of his left hand on the interior ancle of his left leg, rested his right elbow on the elbow of the chair, placed the ball of his right thumb against his right temple, curved the forefinger along the upper part of his forehead, rested the point of the middle finger on the bridge of his nose, and the points of the two others on the lower part of the palm, fixed his eyes intently on the veins in the back of his left hand, and sat in this position like the immoveable Theseus, who, as is well known to many who have not been at college, and to some few who have, sedet, oeternumque sedebit. We hope the admirers of the minitiae in poetry and romance will appreciate this accurate description of a pensive attitude.
The artist usually sets out -- or used to -- to point a moral and adorn a tale. The tale, however, points the other way, as a rule. Two blankly opposing morals, the artist's and the tale's. Never trust the artist. Trust the tale. The proper functions of a critic is to save the tale from the artist who created it.
I'm not in love with someone!" he shouted at her, infuriated because she was right and he couldn't do a thing about it. "I'm in love with you, and damn it, I don't like it."You've made that abundantly clear." She straightened her shoulders and lifted her chin."Don't pull that regal routine on me," Grant began. Her eyes sharpened to dagger points. Her skin flushed majestically. Abruptly he began to laugh. When she tossed her head back in fury, he simply collapsed against her. "Oh, God, Gennie, I can't take it when you look at me as though you were about to have me tossed in the dungeon."Get off me, you ass!" Incensed, insulted, she shoved against him, but he only held her tighter. Only quick reflexes saved him from a well-aimed knee at a strategic point.
We didn't talk about problems, or parents, or automobiles, or ambitions. We talked about life.... And the sea was there, forty feet away and getting closer, and the sky over the sea, and the sun going down the sky. And it was cold, and it was the high point of my life. I'd had high points before. Once at night walking in the park in the rain in autumn. Once out in the desert, under the stars, when I turned into the earth turning on its axis. Sometimes thinking, just thinking things through. But always alone. By myself. This time I was not alone. I was on the high mountain with a friend. There is nothing, there is nothing that beats that. If it never happens again in my life, still I can say I was there once.
F. Scott Fitzgerald believed inserting exclamation points was the literary equivalent of an author laughing at his own jokes, but that's not the case in the modern age; now, the exclamation point signifies creative confusion. All it illustrates is that even the writer can't tell if what they're creating is supposed to be meaningful, frivolous, or cruel. It's an attempt to insert humor where none exists, on the off chance that a potential reader will only be pleased if they suspect they're being entertained. Of course, the reader isn't really sure, either. They just want to know when they're supposed to pretend to be amused.
You wouldn't understand my works. You wouldn't have the faintest idea of what they were about. You wouldn't appreciate the points of reference. You're way behind. All of you. There's no point in sending you my works. You'd be lost. It's nothing to do with a question of intelligence. It's a way of being able to look at the world. It's a question of how far you can operate on things and not in things. I mean it's a question of your capacity to ally the two, to relate the two, to balance the two. To see, to be able to see! I'm the one who can see. That's why I can write my critical works. Might do you good...have a look at them...see how certain people can view...things...how certain people can maintain...intellectual equilibrium. Intellectual equilibrium. You're just objects. You just...move about. I can observe it. I can see what you do. It's the same as I do. But you're lost in it. You won't get me being...I won't be lost in it.
He heard himself crying out: Never, never! Or was it: Verily I come, I come to you? He could not tell. Then as a flash from some other point of power there came to his mind another thought: Take it off! Take it off! Fool, take it off! Take off the Ring! The two powers strove in him. For a moment, perfectly balanced between their piercing points, he writhed, tormented. Suddenly he was aware of himself again. Frodo, neither the Voice nor the Eye: free to choose, and with one remaining instant in which to do so. He took the Ring off his finger.
The perception of other people and the intersubjective world is problematic only for adults. The child lives in a world which he unhesitatingly believes accessible to all around him. He has no awares of himself or of others as private subjectives, nor does he suspect that all of us, himself included, are limited to one certain point of view of the world. That is why he subjects neither his thoughts, in which he believes as they present themselves, to any sort of criticism. He has no knowledge of points of view. For him men are empty heads turned towards one single, self-evident world where everything takes place, even dreams, which are, he thinks, in his room, and even thinking, since it is not distinct from words.
Ringo: [On the 'Two Virgins' cover]'The cover was the mind-blower - I remember to this day the moment when they came in and showed me. I don't really remember the music, I'd have to play it now. But he showed me the cover and I pointed to the 'Times': 'Oh, you've even got the Times in it...' as if he didn't have his dick hanging out. I said, 'Ah, come on, John. You're doing all this stuff and it may be cool for you, but you know we all have to answer. It doesn't matter; whichever one of us does something, we all have to answer for it.' He said, 'Oh, Ringo, you only have to answer the phone.' I said, 'OK, fine,' because it was true. The press would be calling up, and just at that point I didn't want to be bothered - but in the end that's all I had to do: answer the phone. It was fine. Two or three people phoned and I said: 'See, he's got the Times on the cover.
Don't be afraid to make corrections! Whether the voice came from her memory or was a last whisper from the blinding new star far above, Nita never knew. But she knew what to do. While Kit was still on the first part of the name she pulled out her pen, her best pen that Fred had saved and changed. She clicked it open. The metal still tingled against her skin, the ink at the point still glittered oddly- the same glitter as the ink with which the bright Book was written. Nita bent quickly over the Book and with the pen, in lines of light, drew from the final circle an arrow pointing up-ward, the way out, the symbol that said change could happen- if, only if-
A red-gold glow burst suddenly across the enchanted sky above them as an edge of dazzling sun appeared over the sill of the nearest window. The light hit both of their faces at the same time, so that Voldemort's was suddenly a flaming blur. Harry heard the high voice shriek as he too yelled his best hope to the heavens, pointing Draco's wand:"Avada Kedavra!"Expelliarmus!"The bang was like a cannon blast, and the golden flames that erupted between them, at the dead center of the circle they had been treading, marked the point where the spells collided. Harry saw Voldemort's green jet meet his own spell, saw the Elder Wand fly high, dark against the sunrise, spinning across the enchanted ceiling, spinning through the air toward the master it would not kill, who had come to take full possession of it at last.
I wasted time, and now doth time waste me; For now hath time made me his numbering clock: My thoughts are minutes; and with sighs they jar Their watches on unto mine eyes, the outward watch, Whereto my finger, like a dial's point, Is pointing still, in cleansing them from tears. Now sir, the sound that tells what hour it is Are clamorous goans, which strike upon my heart, Which is the bell: so sighs and tears and groans Show minutes, times, and hours.
For twenty years it seemed to me that I had been taking part in a game, and that one day, at the stroke of midnight, I would return to the land of shadows. ...In a little while, the hands would be pointing to midnight; they would point to midnight tomorrow and the next day, and I would still be here.
Will we be extinguished? What difference does it make then, the ones of us who had plans, what does it matter the work we’ve done? The children we’ve raised? He looked pointedly at Olhado. “What will it matter then, that you have such a big happy family, if you’re all erased in one instant by that … bomb? “Not one moment of my life with my family has been wasted,” said Olhado quietly. “But the point of it is to go on, isn’t it? To connect with the future?” “That’s one part, yes,” said Olhado. “But part of the purpose of it is now, is the moment. And part of it is the web of connections. Links from soul to soul. If the purpose of life was just to continue into the future, then none of it would have meaning, because it would be all anticipation and preparation. There’s fruition, Grego. There’s the happiness we’ve already had. The happiness of each moment. The end of our lives, even if there’s no forward continuation, no progeny at all, the end of our lives doesn’t erase the beginning.
Byron: The luxuries of this place have made me soft. The metal point's gone from my pen, there's nothing left but the feather. Gutman: That may be true. But what can you do about it? Byron: Make a departure. Gutman: From yourself? Byron: From my present self to myself as I used to be! Gutman: That's the furthest departure a man could make!