Flaw Quotes (displaying: 1 - 30 of 301 quotes )
I have a thing about losers. Flaws in oneself open you up to others with flaws. Not that Dostoyevsky's characters don't generate phatos, but they're flawed in ways that don't come across as faults. And while I'm on the subject, Tolstoy's characters' faults are so epic and out of scale, they're as static as backdrops.
She was afraid that it was a moral issue, and that was one of his weaknesses. He was Salander’s friend. She knew her brother. She knew that he was loyal to the point of foolhardiness once he had made someone a friend, even if the friend was impossible and obviously flawed. She also the friend was impossible and obviously flawed. She also knew that he could accept any number of idiocies from his friends, but that there was a boundary and it could not be infringed. Where exactly this boundary was seemed to vary from one person to another, but she knew he had broken completely with people who had previously been close friends because they had done something that he regarded as beyond the pale. And he was inflexible. The break was for ever.
The large, gaping flaws in the construction of the stories--mad wives in the attic, strange apparitions in Belgium--are a representation of the life she could not face; these gothic subterfuges represent the mind at a breaking point, frantic to find any way out. If the flaws are only to be attributed to the practicce of popular fiction of the time, we cannot then explain the large amount of genuine feeling that goes into them. They stand for the hidden wishes of an intolerable life.
I never ask my wife about my flaws. Instead I try to get her to ignore them and concentrate on my sense of humor. You don't want any woman to look under the carpet, guys, because there's lots of flaws underneath. Joanne believes my character in a film we did together, 'Mr. and Mrs. Bridge' comes closest to who I really am. I personally don't think there's one character who comes close . . . but I learned a long time ago not to disagree on things that I don't have a solid opinion about.
The serious writer has always taken the flaw in human nature for his starting point, usually the flaw in an otherwise admirable character. Drama usually bases itself on the bedrock of original sin, whether the writer thinks in theological terms or not. Then, too, any character in a serious novel is supposed to carry a burden of meaning larger than himself. The novelist doesn't write about people in a vacuum; he writes about people in a world where something is obviously lacking, where there is the general mystery of incompleteness and the particular tragedy of our own times to be demonstrated, and the novelist tries to give you, within the form of the book, the total experience of human nature at any time. For this reason, the greatest dramas naturally involve the salvation or loss of the soul. Where there is no belief in the soul, there is very little drama.
Whether or not you believe in God, you must believe this: when we as a species abandon our trust in a power greater than us, we abandon our sense of accountability. Faiths? all faiths? are admonitions that there is something we cannot understand, something to which we are accountable. With faith we are accountable to each other, to ourselves, and to a higher truth. Religion is flawed, but only because man is flawed. The church consists of a brotherhood of imperfect, simple souls wanting only to be a voice of compassion in a world spinning out of control.
That can happen when people die, the argument with them drops away and people so flawed while they were drawing breath that at times they were all but unbearable now assert themselves in the most appealing way, and what was least to your liking the day before yesterday becomes in the limousine behind the hearse a cause not only for sympathetic amusement but for admiration
People always fall in love with the most perfect aspects of each other’s personalities. Who wouldn’t? Anybody can love the most wonderful parts of another person. But that’s not the clever trick. The really clever trick is this: Can you accept the flaws? Can you look at your partner’s faults honestly and say, ‘I can work around that. I can make something out of it.’? Because the good stuff is always going to be there, and it’s always going to pretty and sparkly, but the crap underneath can ruin you.
Nobody talked much as the expedition crossed the moon. There was nothing appropriate to say. One thing was clear: Absolutely everybody in the city was supposed to be dead, regardless of what they were, and that anybody that moved in it represented a flaw in the design. There were to be no moon men at all.