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1 " And now I know why they invented words for love, why they had to: It's the only thing that can come close to describing what I feel in that moment, the baffling mixture of pain and pleasure and fear and joy, all running sharply through me at once. "
― Lauren Oliver , Delirium (Delirium, #1)
2 " Well, we were always going to fail that one," said Ron gloomily as they ascended the marble staircase. He had just made Harry feel rather better by telling him how he told the examiner in detail about the ugly man with a wart on his nose in the crystal ball, only to look up and realize he had been describing the examiner's reflection. "
3 " I hope it is not necessary for me to stress the platonic nature of our relationship- not platonic in the purest sense, there was no philosophical discourse, but we certainly didn't fuck, which is usually what people mean by platonic; which I bet would really piss Plato off, that for all his thinking and chatting his name has become an adjective for describing sexless trysts. "
― Russell Brand , My Booky Wook
4 " We live by revelation, as Christians, as artists, which means we must be careful never to get set into rigid molds. The minute we begin to think we know all the answers, we forget the questions, and we become smug like the Pharisee who listed all his considerable virtues, and thanked God that he was not like other men.Unamuno might be describing the artist as well as the Christian as he writes, " Those who believe they believe in God, but without passion in the heart, without anguish of mind, without uncertainty, without doubt, and even at times without despair, believe only in the idea of God, and not in God himself. "
5 " So you actually need spectacles,” Leo finally said.“Of course I do,” Marks said crossly. “Why would I wear spectacles if I didn’t need them?”“I thought they might be part of your disguise.”“My disguise?”“Yes, Marks, disguise. A noun describing a means of concealing someone’s identity. Often used by clowns and spies. And now apparently governesses. Good God, can anything be ordinary for my family? "
― Lisa Kleypas , Married by Morning (The Hathaways, #4)
6 " I haven't had a lot of good, soft things in my life," he said against my forehead. " Not since my family sent me away. Apart from being your sire and feeling that pull to you, it's that goodness, that softness and warmth, along with the resolve and strength in you, that I love. Being turned hasn't taken that from you. If someone were going to design the perfect mate for me, it would be you. Even when you infuriate me with your pigheaded stubbornness and your temper and incredible lack of anything resembling self-preservation—" " Stop describing me please." " You're the most fascinating, maddening, adorable creature I've ever met," he said, sighing and pushing my hair out of my eyes. " So, when I seem possessive or I'm raving like a lunatic, it's just that part of me is still very afraid that I'll lose that—that I'll lose you. I love you. "
7 " She was like a heroine in a novel that she herself was writing the character kept protesting that she was too strong for love and yet the narrator went on describing her desire. "
― Anna Godbersen , Envy (Luxe, #3)
8 " It was almost a mystical experience. I do not know how else to put it. My mind outran time as he neared, and it was as though I had an eternity to ponder the approach of this man who was my brother. His garments were filthy, his face blackened, the stump of his right arm raised, gesturing anywhere. The great beast that he rode was striped, black and red, with a wild red mane and tail. But it really was a horse, and its eyes rolled and there was foam at its mouth and its breathing was painful to hear. I saw then that he wore his blade slung across his back, for its haft protruded high above his right shoulder. Still slowing, eyes fixed upon me, he departed the road, bearing slightly toward my left, jerked the reins once and released them, keeping control of the horse with his knees. His left hand went up in a salute-like movement that passed above his head and seized the hilt of his weapon. It came free without a sound, describing a beautiful arc above him and coming to rest in a lethal position out from his left shoulder and slanting back, like a single wing of dull steel with a minuscule line of edge that gleamed like a filament of mirror. The picture he presented was burned into my mind with a kind of magnificence, a certain splendor that was strangely moving. The blade was a long, scythe like affair that I had seen him use before. Only then we had stood as allies against a mutual foe I had begun to believe unbeatable. Benedict had proved otherwise that night. Now that I saw it raised against me I was overwhelmed with a sense of my own mortality, which I had never experienced before in this fashion. It was as though a layer had been stripped from the world and I had a sudden, full understanding of death itself. "
― Roger Zelazny , The Guns of Avalon (The Chronicles of Amber #2)
9 " A man of my acquaintance once wrote a poem called " The Road Less Traveled" , describing a journey he took through the woods along a path most travelers never used. The poet found that the road less traveled was peaceful but quite lonely, and he was probably a bit nervous as he went along, because if anything happened on the road less traveled, the other travelers would be on the road more frequently traveled and so couldn't hear him as he cried for help. Sure enough, that poet is dead. "
10 " Christianity is not a doctrine, I mean, a theory about what has happened and will happen to the human soul, but a description of something that actually takes place in human life. For 'consciousness of sin' is a real event an so are despair and salvation through faith. Those who speak of such things (Bunyan for instance) are simply describing what has happened to them, whatever gloss anyone may want to put on it. "
― Ludwig Wittgenstein , Culture and Value
11 " He read me extracts from a medical journal describing the progress of a staphylococcus aureus infection. And then he pleasured me with a potato. "
12 " There’s so much I can’t read because I get so exasperated. Someone starts describing the character boarding the plane and pulling the seat back. And I just want to say, Babe, I have been downtown. I have been up in a plane. Give me some credit. "
― Amy Hempel
13 " When describing nature, a writer should seize upon small details, arranging them so that the reader will see an image in his mind after he closes his eyes. For instance: you will capture the truth of a moonlit night if you'll write that a gleam like starlight shone from the pieces of a broken bottle, and then the dark, plump shadow of a dog or wolf appeared. You will bring life to nature only if you don't shrink from similes that liken its activities to those of humankind." , May 10, 1886) "
14 " Why do you think people stopped reading? We read to connect with other minds. But why read when you're busy writing, describing the fine-grained flotsam of your own life. Compulsively recording every morsel you eat, that you're cold, or, I don't know, heartbroken by a football game. An endless stream flowing to an audience of everyone and no one. "
― Alena Graedon , The Word Exchange
15 " The recipe for becoming a good novelist, for example is easy to give but to carry it out presupposes qualities one is accustomed to overlook when one says 'I do not have enough talent'. One has only to make a hundred or so sketches for novels, none longer than two pages but of such distinctness that every word in them is necessary; one should write down anecdotes each day until one has learned how to give them the most pregnant and effective form; one should be tireless in collecting and describing human types and characters; one should above all relate things to others and listen to others relate, keeping one's eyes and ears open for the effect produced on those present, one should travel like a landscape painter or costume designer; one should excerpt for oneself out of the individual sciences everything that will produce an artistic effect when it is well described, one should, finally, reflect on the motives of human actions, disdain no signpost to instruction about them and be a collector of these things by day and night. One should continue in this many-sided exercise some ten years: what is then created in the workshop, however, will be fit to go out into the world. - What, however, do most people do? They begin, not with the parts, but with the whole. Perhaps they chance to strike a right note, excite attention and from then on strike worse and worse notes, for good, natural reasons. "
― Friedrich Nietzsche , Human, All Too Human: A Book for Free Spirits
16 " I am developing new coping mechanisms for lost words and lost negatives, as here for instance: compensate by describing the episode instead. When something is lost, redirect energy, follow the derivé, the chance and flow of what life tosses us, and make something new instead. Remember that I'm often struck by certain passages of descriptive writing, writing that is not about driving home a point but about providing detail, background, setting the scene (it's tempting to call this the stadium of writing). It has a " something from nothing" quality: a pleasurable experience has been had, and no one has paid a price. Remember that writing does not have to be torture (107). "
17 " In everything, almost in everything, I wrote I was guided by the need of collecting ideas which, linked together, would be the expression of myself, though each individual idea, expressed separately in words, loses its meaning, is horribly debased when only one of the links, of which it forms a part, is taken by itself. But the interlinking of these ideas is not, I think, an intellectual process, but something else, and it is impossible to express the source of this interlinking directly in words; it can only be done indirectly by describing images, actions, and situations in words. "
― Leo Tolstoy
18 " At Camp Don Bosco, there were Bibles all over the place, mostly 1970s hippie versions like Good News for Modern Man. They had groovy titles like The Word or The Way, and translated the Bible into “contemporary English,” which meant Saul yelling at Jonathan, “You son of a bitch!” (I Samuel 20:30). Awesome! The King James version gave this verse as “Thou son of the perverse rebellious woman,” which was bogus in comparison. Maybe these translations went a bit far. I recall one of the Bibles translating the inscription over the cross, “INRI” (Iesus Nazaremus Rex Iudaeorum), as “SSDD” (Same Shit Different Day), and another describing the Last Supper — the night before Jesus’ death, a death he freely accepted — where Jesus breaks the bread, gives it to his disciples, and says, “It’s better to burn out than fade away,” but these memories could be deceptive. "
― Rob Sheffield , Love Is a Mix Tape: Life and Loss, One Song at a Time
19 " It’s not about describing someone as that’s typically an attempt to make whatever they are comfortable for whoever we are. Instead, we may wish to skip the agenda of the description and embrace the wonder of the person. "
― Craig D. Lounsbrough
20 " There are no telegraphs on Tralfamadore. But you're right: each clump of symbols is a brief, urgent message-- describing a situation, a scene. We Tralfamadorians read them all at once, not one after the other. There isn't any particular relationship between all the messages, except that the author has chosen them carefully, so that, when seen all at once, they produce an image of life that is beautiful and surprising and deep. There is no beginning, no middle, no end, no suspense, no moral, no causes, no effects. What we love in our books are the depths of many marvelous moments seen all at one time. "
― Kurt Vonnegut Jr. , Slaughterhouse-Five