Rearranging Quotes (displaying: 1 - 30 of 67 quotes )
It was necessary that I leave Schruns and go to New York to rearrange publishers. I did my business in. New York and when I got back to Paris I should have caught the first train from the Gare de 1'Est that would take me down to Austria. But the girl I was in love with was in Paris then, and I did not take the first train, or the second or the third.
We hypostatize information into objects. Rearrangement of objects is change in the content of the information; the message has changed. This is a language which we have lost the ability to read. We ourselves are a part of this language; changes in us are changes in the content of the information. We ourselves are information-rich; information enters us, is processed and is then projected outward once more, now in an altered form. We are not aware that we are doing this, that in fact this is all we are doing
Somewhere along the line Coltrane's soprano sax runs out of steam. Now it's McCoy Tyner's piano solo I hear, the left hand carving out a repetitious rhythm and the right layering on thick, forbidding chords. Like some mythic scene, the music portrays somebody's - a nameless, faceless somebody's - dim past, all the details laid out as clearly as entrails being dragged out of the darkness. Or at least that's how it sounds to me. The patient, repeating music ever so slowly breaks apart the real, rearranging the pieces. It has a hypnotic, menacing smell, just like the forest.
And we, spectators always, everywhere, looking at, never out of, everything! It fills us. We arrange it. It collapses. We re-arrange it, and collapse ourselves. Who's turned us round like this, so that we always, do what we may, retain the attitudeof someone who's departing? Just as he, on the last hill, that shows him all his valleyfor the last time, will turn and stop and linger, we live our lives, for ever taking leave.
There are stories within stories, whispered in the quiet of the night, shouted above the roar of the day, and played out between lovers and enemies, strangers and friends. But all are fragile things made of just twenty-six letters arranged and re-arranged to form tales and imaginings which will dazzle your senses, haunt your imagination and move you to the very depths of your soul.
Welcome to Barrayar, son. Here you go: have a world of wealth and poverty, wrenching change and rooted history. Have a birth; have two. Have a name. Miles means "soldier," but don't let the power of suggestion overwhelm you. Have a twisted form in a society that loathes and fears the mutations that have been its deepest agony. Have a title, wealth, power, and all the hatred and envy they will draw. Have your body ripped apart and re-arranged. Inherit an array of friends and enemies you never made. Have a grandfather from hell. Endure pain, find joy, and make your own meaning, because the universe certainly isn't going to supply it. Always be a moving target. Live. Live. Live.
Patience never wants Wonder to enter the house: because Wonder is a wretched guest. It uses all of you but is not careful with what is most fragile or irreplaceable. If it breaks you, it shrugs and moves on. Without asking, Wonder often brings along dubious friends: doubt, jealousy, greed. Together they take over; rearrange the furniture in every one of your rooms for their own comfort. They speak odd languages but make no attempt to translate for you. They cook strange meals in your heart that leave odd tastes and smells. When they finally go are you happy or miserable? Patience is always left holding the broom.
Give parents the tiniest of confidences and they'll use them as crowbars to jimmy you open and rearrange your life with no perspective. Sometimes I'd just like to mace them. I want to tell them that I envy their upbringings that were so clean, so free of futurelessness. And I want to throttle them for blindly handing over the world to us like so much skid-marked underwear.
Without his even being aware that it was happening, Paul's face rearranged itself into the expression of sincere concentration he always wore while listening to editors. He thought of this as his Can I Help You, Lady? expression. That was because most editors were like women who drive into service stations and tell the mechanic to fix whatever it is that's making that knocking sound under the hood or going wonk-wonk inside the dashboard, and please have it done an hour ago. A look of sincere concentration was good because it flattered them, and when editors were flattered, they would sometimes give in on some of their mad ideas.
I don't care if it can count words or rearrange paragraphs at the push of a button, I don't want a computer. Unlike the faint scurry raised by fingers against a plastic computer keyboard, the smack and clatter of a typewriter suggests that you're actually building something. At the end of a miserable day, instead of grieving my virtual nothing, I can always look at my loaded wastepaper basket and tell myself that if I failed, at least I took a few trees down with me.
Eternity is with us, inviting our contemplation perpetually, but we are too frightened, lazy, and suspicious to respond; too arrogant to still our thought, and let divine sensation have its way. It needs industry and goodwill if we would make that transition; for the process involves a veritable spring-cleaning of the soul, a turning-out and rearrangement of our mental furniture, a wide opening of closed windows, that the notes of the wild birds beyond our garden may come to us fully charged with wonder and freshness, and drown with their music the noise of the gramaphone within. Those who do this, discover that they have lived in a stuffy world, whilst their inheritance was a world of morning-glory:where every tit-mouse is a celestial messenger, and every thrusting bud is charged with the full significance of life.
Voldemort,” said Riddle softly, “is my past, present, and future, Harry Potter. . . .” He pulled Harry’s wand from his pocket and began to trace it through the air, writing three shimmering words: TOM MARVOLO RIDDLE Then he waved the wand once, and the letters of his name rearranged themselves: I AM LORD VOLDEMORT
A totalitarian state is in effect a theocracy, and its ruling caste, in order to keep its position, has to be thought of as infallible. But since, in practice, no one is infallible, it is frequently necessary to rearrange past events in order to show that this or that mistake was not made, or that this or that imaginary triumph actually happened.
BRUCE STERLING Homo sapiens declared extinct, Nature, November 11, 1999:Since I've been asked to offer an epitaph," the highly distributed poetware continued, "I believe that we should rearrange the Great Wall of China to spell out (in Chinese of course, since most of them were always Chinese) -- 'THEY WERE VERY, VERY CURIOUS, BUT NOT AT ALL FAR-SIGHTED.
It was almost noon when the plane touched down at the Triad airport on the outskirts of Greensboro. There was a hire car waiting for me; I waved my notepad at the dashboard to transmit my profile, then waited as the seating and controls rearranged themselves slightly, piezoelectric actuators humming. As I started to reverse out of the parking bay, the stereo began a soothing improvisation, flashing up a deadpan title: Music for Leaving Airports 11 June 2008.
What saddened and incensed her was the abdication of power, so craven, the surrender so close to home. And power was what she was in for. Nicola had lived deliciously, but she was promiscuous on principle, as a sign of emancipation, of spiritual freedom, freedom from men. She was, she believed, without appetite, and prided herself on her passionless brilliance in bed. But then the subtle rearrangement, and the abject whisper... and it poisoned everything, somehow.
Mockingbirds are the true artists of the bird kingdom. Which is to say, although they're born with a song of their own, an innate riff that happens to be one of the most versatile of all ornithological expressions, mocking birds aren't content to merely play the hand that is dealt them. Like all artists, they are out to rearrange reality. Innovative, willful, daring, not bound by the rules to which others may blindly adhere, the mockingbird collects snatches of birdsong from this tree and that field, appropriates them, places them in new and unexpected contexts, recreates the world from the world. For example, a mockingbird in South Carolina was heard to blend the songs of thirty-two different kinds of birds into a ten-minute performance, a virtuoso display that serve no practical purpose, falling, therefore, into the realm of pure art.
And fantasy it was, for we were not strong, only aggressive; we were not free, merely licensed; we were not compassionate, we were polite; not good, but well behaved. We courted death in order to call ourselves brave, and hid like thieves from life. We substituted good grammar for intellect; we switched habits to simulate maturity; we rearranged lies and called it truth, seeing in the new pattern of an old idea the Revelation and the Word.
Did I read The New Yorker? This question had a dangerous urgency. It wasn't any one writer or article he was worried about, but the font. The meaning embedded, at a preconscious level, by the look of the magazine; the seal, as he described it, that the typography and layout put on dialectical thought. According to Perkus, to read The New Yorker was to find that you always already agreed, not with The New Yorker but, much more dismayingly, with yourself. I tried hard to understand. Apparently here was the paranoia Susan Eldred had warned me of: The New Yorker's font was controlling, perhaps assailing, Perkus Tooth's mind. To defend himself he frequently retyped their articles and printed them out in simple Courier, an attempt to dissolve the magazine's oppressive context. Once I'd enter his apartment to find him on his carpet with a pair of scissors, furiously slicing up and rearranging an issue of the magazine, trying to shatter its spell on his brain.
I assure you the law isn't a line engraved in marble, immovable and unchangeable through the centuries. Rather...the law is like a string, fixed at both ends but with a great deal of play in it-very loose, the line of the law-so you can stretch it this way or that, rearrange the arc of it so you are always-short of the blantant theft or cold-blooded murder-safely on the right side.
It is cognition that is the fantasy.... Everything I tell you now is mere words. Arrange them and rearrange them as I might, I will never be able to explain to you the form of Will... My explanation would only show the correlation between myself and that Will by means of a correlation on the verbal level. The negation of cognition thus correlates to the negation of language. For when those two pillars of Western humanism, individual cognition and evolutionary continuity, lose their meaning, language loses meaning. Existence ceases for the individuum as we know it, and all becomes chaos. You cease to be a unique entity unto yourself, but exist simply as chaos. And not just the chaos that is you; your chaos is also my chaos. To wit, existence is communication, and communication, existence.
For instance, supposing that the planet earth were not a sphere but a gigantic coffee table, how much difference in everyday life would that make? Granted, this is a pretty farfetched example; you can't rearrange facts of life so freely. Still, picturing the planet earth, for convenience sake, as a gigantic coffee table does in fact help clear away the clutter—those practically pointless contingencies such as gravity and the international dateline and the equator, those nagging details that arise from the spherical view. I mean, for a guy leading a perfectly ordinary existence, how many times in the course of a lifetime would the equator be a significant factor?