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1 " I look at you, and I think about you, and ... I don't know. No one has ever confounded me the way you do. "
― Stephanie Perkins , Lola and the Boy Next Door (Anna and the French Kiss, #2)
2 " When writing a novel a writer should create living people; people not characters. A character is a caricature. If a writer can make people live there may be no great characters in his book, but it is possible that his book will remain as a whole; as an entity; as a novel. If the people the writer is making talk of old masters; of music; of modern painting; of letters; or of science then they should talk of those subjects in the novel. If they do not talk of these subjects and the writer makes them talk of them he is a faker, and if he talks about them himself to show how much he knows then he is showing off. No matter how good a phrase or a simile he may have if he puts it in where it is not absolutely necessary and irreplaceable he is spoiling his work for egotism. Prose is architecture, not interior decoration, and the Baroque is over. For a writer to put his own intellectual musings, which he might sell for a low price as essays, into the mouths of artificially constructed characters which are more remunerative when issued as people in a novel is good economics, perhaps, but does not make literature. People in a novel, not skillfully constructed characters, must be projected from the writer’s assimilated experience, from his knowledge, from his head, from his heart and from all there is of him. If he ever has luck as well as seriousness and gets them out entire they will have more than one dimension and they will last a long time. A good writer should know as near everything as possible. Naturally he will not. A great enough writer seems to be born with knowledge. But he really is not; he has only been born with the ability to learn in a quicker ratio to the passage of time than other men and without conscious application, and with an intelligence to accept or reject what is already presented as knowledge. There are some things which cannot be learned quickly and time, which is all we have, must be paid heavily for their acquiring. They are the very simplest things and because it takes a man’s life to know them the little new that each man gets from life is very costly and the only heritage he has to leave. Every novel which is truly written contributes to the total of knowledge which is there at the disposal of the next writer who comes, but the next writer must pay, always, a certain nominal percentage in experience to be able to understand and assimilate what is available as his birthright and what he must, in turn, take his departure from. If a writer of prose knows enough about what he is writing about he may omit things that he knows and the reader, if the writer is writing truly enough, will have a feeling of those things as strongly as though the writer had stated them. The dignity of movement of an ice-berg is due to only one-eighth of it being above water. A writer who omits things because he does not know them only makes hollow places in his writing. A writer who appreciates the seriousness of writing so little that he is anxious to make people see he is formally educated, cultured or well-bred is merely a popinjay. And this too remember; a serious writer is not to be confounded with a solemn writer. A serious writer may be a hawk or a buzzard or even a popinjay, but a solemn writer is always a bloody owl. "
― Ernest Hemingway , Death in the Afternoon
3 " Science fiction is a dialogue, a tennis match, in which the Idea is volleyed from one side of the net to the other. Ridiculous to say that someone 'stole' an idea: no, no, a thousand times no. The point is the volley, and how it's carried, and what statement is made by the answering 'statement.' In other words if Burroughs initiates a time-gate and says it works randomly, and then Norton has time gates confounded with the Perilous Seat, the Siege Perilous of the Round Table, and locates it in a bar on a rainy night do you see both the humor and the volley in the tennis match? "
― C.J. Cherryh
4 " The religionists are the enemies of liberty, and the friends of liberty attack religion; the high-minded and the noble advocate bondage, and the meanest and most servile preach independence; honest and enlightened citizens are opposed to all progress, whilst men without patriotism and without principle put themselves forward as the apostles of civilization and intelligence. Has such been the fate of the centuries which have preceded our own? and has man always inhabited a world like the present, where all things are out of their natural connections, where virtue is without genius, and genius without honor; where the love of order is confounded with a taste for oppression, and the holy rites of freedom with a contempt of law; where the light thrown by conscience on human actions is dim, and where nothing seems to be any longer forbidden or allowed, honorable or shameful, false or true? "
― Alexis de Tocqueville , Democracy in America
5 " Let it be stated clearly that mysticism is an a-rational type of experience, and in some degree common to all men.It is an intuitive, self-evident, self-recognized knowledge which comes fitfully to man. It should not be confounded with the instinctive and immediate knowledge possessed by animals and used by them in their adaptations to environment.The average man seldom pays enough attention to his slight mystical experiences to profit or learn from them. Yet his need for them is evidenced by his incessant seeking for the thrills, sensations, uplifts, and so on, which he organizes for himself in so many ways--the religious way being only one of them. In fact, the failure of religion--in the West, at any rate--to teach true mysticism, and its overlaying of the deeply mystic nature of its teachings with a pseudo-rationalism and an unsound historicity may be the root cause for driving people to seek for things greater than they feel their individual selves to be in the many sensation-giving activities in the world today. "
― Paul Brunton , The Notebooks of Paul Brunton, the Ego: From Birth to Rebirth
6 " Every novel which is truly written contributes to the total of knowledge which is there at the disposal of the next writer who comes, but the next writer must pay, always, a certain nominal percentage in experience to be able to understand and assimilate what is available as his birthright and what he must, in turn, take his departure from. If a writer of prose knows enough about what he is writing about he may omit things that he knows and the reader, if the writer is writing truly enough, will have a feeling of those things as strongly as though the writer had stated them. The dignity of movement of an ice-berg is due to only one-eighth of it being above water. A writer who omits things because he does not know them only makes hollow places in his writing. A writer who appreciates the seriousness of writing so little that he is anxious to make people see he is formally educated, cultured or well-bred is merely a popinjay. And this too remember; a serious writer is not to be confounded with a solemn writer. A serious writer may be a hawk or a buzzard or even a popinjay, but a solemn writer is always a bloody owl. "
7 " Toxic' was actually an accurate description of the feelings Clementine had so often felt in Erika's presence: the intense aggravation she had to work so hard to resist and conceal, the disappointment with herself, because Erika wasn't evil or cruel or stupid, she was simply annoying, and Clementine's response to her annoyingness was so completely disporportionate, it embarassed and confounded her. Erika loved Clementine. She'd do anything for her. So why did she inflame Clementine so? It was like she was allergic to her. "
― Liane Moriarty , Truly Madly Guilty
8 " It's possible that Knight believed he was one of the few sane people left. He was confounded by the idea that passing the prime of your life in a cubicle, spending hours a day at a computer, in exchange for money, was considered acceptable, but relaxing in a tent in the woods was disturbed. Observing the trees was indolent; cutting them down was enterprising. What did Knight do for a living? He lived for a living. "
― Michael Finkel , The Stranger in the Woods: The Extraordinary Story of the Last True Hermit
9 " I have set off and found that there is no end to even the simplest journey of the mind. I begin, and straight away a hundred alternative routes present themselves. I choose one, no sooner begin, than a hundred more appear. Every time I try to narrow down my intent I expand it, and yet those straits and canals still lead me to the open sea, and then I realize how vast it all is, this matter of the mind. I am confounded by the shining water and the size of the world. "
― Jeanette Winterson , Sexing the Cherry
10 " I also think of those daily slaughters along the highways, of that death that is as horrible as it is banal and that bears no resemblance to cancer or AIDS because, as the work not of nature but of man, it is an almost voluntary death. How can it be that such a death fails to dumbfound us, to turn our lives upside down, to incite us to vast reforms? No, it does not dumbfound us, because like Pasenow, we have a poor sense of the real, and in the sur-real sphere of symbols, this death in the guise of a handsome car actually represents life; this smiling death is con-fused with modernity, freedom, adventure, just as Elisabeth was con-fused with the Virgin. This death of a man condemned to capital punishment, though infinitely rarer, much more readily draws our attention, rouses passions: confounded with the image of the executioner, it has a symbolic voltage that is far stronger, far darker and more repellent. Et cetera.Man is a child wandering lost—to cite Baudelaire`s poem again—in the " forests of symbols." (The criterion of maturity: the ability to resist symbols. But mankind grows younger all the time.) "
11 " I think in many ways that even though the pages of our future are still blank, even though we are still confounded by the unending choices we make that will forever decide our future, even with all of this uncertainty, the pages of our future seem to be written in invisible ink. It’s as if the pages shutter and grow restless under the weight of this ink, wanting to open up to the final pages to show us we need not worry. But alas the pages seem blank to us, and were it not for faith I too would shutter at the prospect of a future, any future. But it is with this faith that I say come forth with your future, any future you wish. I do not need to know the score, I accept that every ending is right in its own way, and my future and yours will be in harmony with the universe. "
12 " There are a range of useful and illuminating analyses of the media construction of organised abuse as it became front-page news in the 1980s and 1990s (Kitzinger 2004, Atmore 1997, Kelly 1998), but this book is focused on organised abuse as a criminal practice; as well as a discursive object of study, debate and disagreement. These two dimensions of this topic are inextricably linked because precisely where and how organised abuse is reported to take place is an important determinant of how it is understood. Prior to the 1980s, the predominant view of the police, psychiatrists and other authoritative professionals was that organised abuse occurred primarily outside the family where it was committed by extra-familial ‘paedophiles’. This conceptualisation; of organised abuse has received enduring community support to the present day, where concerns over children’s safety is often framed in terms of their vulnerability to manipulation by ‘paedophiles’ and ‘sex rings’. This view dovetails more generally with the medico-legal and media construction of the ‘paedophile as an external threat to the sanctity of the family and community (Cowburn and Dominelli 2001) but it is confounded by evidence that organised abuse and other forms of serious sexual abuse often originates in the home or in institutions, such as schools and churches, where adults have socially legitimate authority over children. "
― , Organised Sexual Abuse
13 " You may plainly perceive the traitor through his mask; he is well known every-where in his true colors; his rolling eyes and his honeyed tones impose only on those who do not know him. People are aware that this low-bred fellow, who deserves to be pilloried, has, by the dirtiest jobs, made his way in the world; and that the splendid position he has acquired makes merit repine and virtue blush. Yet whatever dishonourable epithets may be launched against him everywhere, nobody defends his wretched honour. Call him a rogue, an infamous wretch, a confounded scoundrel if you like, all the world will say “yea, ” and no one contradicts you. But for all that, his bowing and scraping are welcome everywhere; he is received, smiled upon, and wriggles himself into all kinds of society; and, if any appointment is to be secured by intriguing, he will carry the day over a man of the greatest worth. Zounds! these are mortal stabs to me, to see vice parleyed with; and sometimes times I feel suddenly inclined to fly into a wilderness far from the approach of men. "
― Molière , The Misanthrope
14 " Words flow from love, and speech is likewise confounded by love. It is the sweetest gesture to be without words, and with words, all the same. So too is it with the lighthearted sigh – an outward expression of an abundance of the heart. "
― Zechariah Barrett
15 " If a writer of prose knows enough about what he is writing about he may omit things that he knows and the reader, if the writer is writing truly enough, will have a feeling of those things as strongly as though the writer had stated them. The dignity of movement of an ice-berg is due to only one-eighth of it being above water. A writer who omits things because he does not know them only makes hollow places in his writing. A writer who appreciates the seriousness of writing so little that he is anxious to make people see he is formally educated, cultured or well-bred is merely a popinjay. And this too remember; a serious writer is not to be confounded with a solemn writer. A serious writer may be a hawk or a buzzard or even a popinjay, but a solemn writer is always a bloody owl. "
― Ernest Hemingway
16 " Be the man who has the spirit of a ruthless tiger, ravaging every dusty corner of my soul.Be the man for whom I will tame myself voluntarily..Be the man who can make me forget my birth date in moments of utter dellusion.Be the man whose arms are my harbor, whose lips are my shore, and whose name is my only salvation.Be the man who erases my past and draws my future with trails of roses and kisses.Be the man who makes me sigh behind the windows of Poetry, longing to be written. Be the man whose cigarette's ashes are confounded with mine.Be the man whose voice moves mountains inside me.Be the man whose eyes devour the innocence within me with every piercing glance.Be the man for whom I will transform exceptions into rules.Be the man who will dare to tear this poem from my hands.The man who will rewrite with the uncertainty of the futur every single one of my verses. "
― Malak El Halabi
17 " It was inevitable, as soon as legends of miracles became attached to the names of the great mystics, that the credulous masses should applaud imposture more than true devotion; the cult of the saints, against which orthodox Islam ineffectually protested, promoted ignorance and superstition, and confounded charlatanry with lofty speculation. To live scandalously, to act impudently, to speak unintelligibly—this was the easy highroad to fame, wealth, and power. "
― A.J. Arberry , Sufism: An Account of the Mystics of Islam
18 " Leo smiled and stroked her hair. 'We'll both be fine, Marks. We've just begun our journey...and there's so much we have yet to do.' He spoke more softly as he heard her breathing turn even and steady. 'Rest against my heart. Let me watch over your dreams. And know that tomorrow morning, and every morning after that, you'll awaken next to someone who loves you.''Dodger?' she mumbled against his chest, and he grinned.'No, your confounded ferret will have to stay in his basket. I was referring to myself.''Yes, I know.' Catherine slid her hand up to his cheek. 'Only you,' she said. 'Always you. "
― Lisa Kleypas , Married by Morning (The Hathaways, #4)
19 " I can fly around the world in one night. I can wink and go up a chimney in a split second. I can be in 500 shopping malls on the same weekend. I can even fit enough gifts for the entire world into one tiny sleigh pulled by eight tiny reindeer, but I CANNOT FIX THIS CONFOUNDED COMPUTER! "
― Bobbi A. Chukran , Cattywampus Christmas
20 " A great city is not to be confounded with a populous one. "