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1 " When we die, as when the scenes have been fixed on to celluloid and the scenery is pulled down and burnt — we are phantoms in the memories of our descendants. Then we are ghosts, my dear, then we are myths. But still we are together. We are the past together, we are a distant past. Beneath the dome of the mysterious stars, I still hear your voice. "
― Jostein Gaarder , Maya
2 " If you only write when you’re inspired you may be a fairly decent poet, but you’ll never be a novelist because you’re going to have to make your word count today and those words aren’t going to wait for you whether you’re inspired or not.You have to write when you’re not inspired. And you have to write the scenes that don’t inspire you. And the weird thing is that six months later, a year later, you’ll look back at them and you can’t remember which scenes you wrote when you were inspired and which scenes you just wrote because they had to be written next.The process of writing can be magical. …Mostly it’s a process of putting one word after another. "
― Neil Gaiman
3 " But how can the characters in a play guess the plot? We are not the playwright, we are not the producer, we are not even the audience. We are on the stage. To play well the scenes in which we are " on" concerns us much more than to guess about the scenes that follow it. "
4 " Some days, my life flashes before me in the blink of an eye, until I get to the scenes I wish I could change, and they play over again and again, until I can't see straight. Promise me though, you'll stop pouring every ounce of yourself into work. Save a part of your life for something else. "
― Rebecca Raisin , The Little Antique Shop under the Eiffel Tower (The Little Paris Collection, #2)
5 " It might seem to you that living in the woods on a riverbank would remove you from the modern world. But not if the river is navigable, as ours is. On pretty weekends in the summer, this riverbank is the very verge of the modern world. It is a seat in the front row, you might say. On those weekends, the river is disquieted from morning to night by people resting from their work.This resting involves traveling at great speed, first on the road and then on the river. The people are in an emergency to relax. They long for the peace and quiet of the great outdoors. Their eyes are hungry for the scenes of nature. They go very fast in their boats. They stir the river like a spoon in a cup of coffee. They play their radios loud enough to hear above the noise of their motors. They look neither left nor right. They don't slow down for - or maybe even see - an old man in a rowboat raising his lines...I watch and I wonder and I think. I think of the old slavery, and of the way The Economy has now improved upon it. The new slavery has improved upon the old by giving the new slaves the illusion that they are free. The Economy does not take people's freedom by force, which would be against its principles, for it is very humane. It buys their freedom, pays for it, and then persuades its money back again with shoddy goods and the promise of freedom. "
― Wendell Berry , Jayber Crow
6 " What the biblical narrative tells me – and, in particular the account of Christ’s passion- is that while I may not be able to trace the artists hand at all times, I can always trust his motives. The God who is in control of all things, who acts behind the scenes in all things, is also the God who willingly suffers. He is the one I can shout at, cry with and find comfort in. His heart, if not all his ways, is clear to me because the cross wore it on his sleeve for all to see. This God is able to sympathise with those who suffer not simply because his is 'all knowing' - an attribute ascribed to any version of divinity - because he has experienced pain first hand. "
7 " But see, that's the thing about movies. Nothing is left to the imagination. You read a book, and you see a picture of the characters and the scenes in your mind. You don't have that with a movie. It's all either up there on the screen laid out for you, or it isn't there at all. "
― Laurie Viera Rigler , Confessions of a Jane Austen Addict (Jane Austen Addict, #1)
8 " Souraya thought those days that she knew so many songs about the misery of love because pain kept love within the boundaries of time, and knowable, whereas what she was experiencing passed beyond the horizon of birth and death; it was like the eternal life the prophets spoke of. A gesture, a kiss, a task, a sentence had a golden elemental endlessness, like the scenes in the murals painted in the island houses. "
9 " Sooner or later, all talk among foreigners in Pyongyang turns to one imponderable subject. Do the locals really believe what they are told, and do they truly revere Fat Man and Little Boy? I have been a visiting writer in several authoritarian and totalitarian states, and usually the question answers itself. Someone in a café makes an offhand remark. A piece of ironic graffiti is scrawled in the men's room. Some group at the university issues some improvised leaflet. The glacier begins to melt; a joke makes the rounds and the apparently immovable regime suddenly looks vulnerable and absurd. But it's almost impossible to convey the extent to which North Korea just isn't like that. South Koreans who met with long-lost family members after the June rapprochement were thunderstruck at the way their shabby and thin northern relatives extolled Fat Man and Little Boy. Of course, they had been handpicked, but they stuck to their line.There's a possible reason for the existence of this level of denial, which is backed up by an indescribable degree of surveillance and indoctrination. A North Korean citizen who decided that it was all a lie and a waste would have to face the fact that his life had been a lie and a waste also. The scenes of hysterical grief when Fat Man died were not all feigned; there might be a collective nervous breakdown if it was suddenly announced that the Great Leader had been a verbose and arrogant fraud. Picture, if you will, the abrupt deprogramming of more than 20 million Moonies or Jonestowners, who are suddenly informed that it was all a cruel joke and there's no longer anybody to tell them what to do. There wouldn't be enough Kool-Aid to go round. I often wondered how my guides kept straight faces. The streetlights are turned out all over Pyongyang—which is the most favored city in the country—every night. And the most prominent building on the skyline, in a town committed to hysterical architectural excess, is the Ryugyong Hotel. It's 105 floors high, and from a distance looks like a grotesquely enlarged version of the Transamerica Pyramid in San Francisco (or like a vast and cumbersome missile on a launchpad). The crane at its summit hasn't moved in years; it's a grandiose and incomplete ruin in the making. 'Under construction,' say the guides without a trace of irony. I suppose they just keep two sets of mental books and live with the contradiction for now. "
― Christopher Hitchens , Love, Poverty, and War: Journeys and Essays
10 " Daily Reminders1) Never compare myself to other people. It is comparing my behind the scenes to their highlight reel.2) Stay here, now. I will not think to far forward or back.3) It's okay to not be fine.4) Taylor need's me so I'm going to take care of myself. "
11 " Merrick belonged to that class of reader who was able to forget with amazing ease the hand moving the characters behind the scenes of the novel. "
― Félix J. Palma , The Map of Time
12 " Its better to create the Character than to be the Character , because the one behind the scenes are the ones that really get full credit "
13 " It is silly to think they all achieved it " just like that" . nothing in life is so easy, that is a fact.Behind the scenes were tears and pain,they stumbled and fell but got up again. They heard a voice, firm and true" Muster yourself you'll make it through" Steadied by a hand they arose to dancein the turmoil and storm with perseverance At the end, it came upon them; a light so brightsuccess was theirs: it was their right! "
14 " You don't need to be primary caregiver of your children to be of primary influence in their lives. What you do for them behind the scenes in your own unique way is what makes the true difference in the long run. "
― Miya Yamanouchi
15 " It was entirely taken for granted that there wasn't any lying in our family, and I was advanced in adolescence before I realized that in plenty of homes where I played with schoolmates, and went to their parties, children lied to their parents and parents lied to their children and to each other. It took me a long time to realize that these very same everyday lies, and the stratagems and jokes and tricks and dares that went with them, were in fact the basis of the scenes I so well loved to hear about and hoped for and treasured in the conversation of adults. My instinct - the dramatic instinct - was to lead me, eventually, on the right track for a storyteller: the scene was full of hints, pointers, suggestions, and promises of things to find out and know about human beings.I had to grow up and learn to listen for the unspoken as well as the spoken - and to know a truth, I also had to recognize a lie. "
― Eudora Welty
16 " Look, I’ll tell you what I do, but you won’t believe me.” … “Given that I just found you bound and gagged, my mind is somewhat more receptive than it might normally be.” “Well then, here’s the deal,” Krystal said as she sat down next to me. “Everything you think you know about monsters is a lie. Ghouls, ghosts, werewolves and more are real and hiding out behind the scenes in our world. Officially, they are known as parahumans. "
― Drew Hayes , The Utterly Uninteresting and Unadventurous Tales of Fred, the Vampire Accountant (Fred, the Vampire Accountant, #1)
17 " a serious contender for my book of year. I can't believe I only discovered Chris Carter a year ago and I now consider him to be one of my favourite crime authors of all time. For that reason this is a difficult review to write because I really want to show just how fantastic this book is.It's a huge departure from what we are used to from Chris, this book is very different from the books that came before. That said it could not have been more successful in my opinion. After five books of Hunter trying to capture a serial killer it makes sense to shake things up a bit and Chris has done that in best possible way. By allowing us to get inside the head of one of the most evil characters I've ever read about. It is also the first book based on real facts and events from Chris's criminal psychology days and that makes it all the more shocking and fascinating. Chris Carter's imagination knows no bounds and I love it. The scenes, the characters, whatever he comes up with is both original and mind blowing and that has never been more so than with this book. I feel like I can't even mention the plot even just a little bit. This is a book that should be read in the same way that I read it: with my heart in my mouth, my eyes unblinking and in a state of complete obliviousness to the world around me while I was well and truly hooked on this book. This is addictive reading at its absolute best and I was devastated when I turned the very last page. Robert Hunter, after the events of the last few books is looking forward to a much needed break in Hawaii. Before he can escape however his Captain calls him to her office. Arriving, Hunter recognises someone - one of the most senior members of the FBI who needs his help. They have in custody one of the strangest individuals they have ever come across, a man who is more machine than human and who for days has uttered not a single word. Until one morning he utters seven: 'I will only speak to Robert Hunter'. The man is Hunter's roommate and best friend from college, Lucien Folter, and found in the boot of his car are two severed and mutilated heads. Lucien cries innocence and Hunter, a man incredibly difficult to read or surprise is played just as much as the reader is by Lucien. There are a million and one things I want to say but I just can't. You really have to discover how this story unfolds for yourself. In this book we learn so much more about Hunter and get inside his head even further than we have before. There's a chapter that almost brought me to tears such is the talent of Chris to connect the reader with Hunter. This is a character like no other and he is now one of my favourite detectives of all time. We go back in time and learn more about Hunter when he was younger, and also when he was in college with Lucien. Lucien is evil. The scenes depicted in this book are some of the most graphic I've ever read and you know what, I loved it. After five books of some of the scariest and goriest scenes I've ever read I wondered whether Chris could come up with something even worse (in a good way), but trust me, he does. This book is horrifying, terrifying and near impossible to put down until you reach its conclusion. I spent my days like a zombie and my nights practically giving myself paper cuts turning the pages. If when reading this book you think you have an idea of where it will go, prepare to be wrong. I've learnt never to underestimate Chris, keeping readers on their toes he takes them on an absolute rollercoaster of a ride with the twistiest of turns and the biggest of drops you will finish this book reeling. I am on a serious book hangover, what book can I read next that can even compare to this? I have no idea but if you are planning on reading An Evil Mind I cannot reccommend it enough. Not only is this probably my book of the year it is probably the best crime fiction book I have ever read. An exaggeration you might say but my opinion is my own and this real "
18 " t is silly to think they all achieved it " just like that" . nothing in life is so easy, that is a fact.Behind the scenes were tears and pain,they stumbled and fell but got up again. They heard a voice, firm and true" Muster yourself you'll make it through" Steadied by a hand they arose to dancein the turmoil and storm with perseverance At the end, it came upon them; a light so brightsuccess was theirs: it was their right! "
19 " He asked, looking at her dark-rimmed eyes, " You do not sleep?" She shivered. " No. I do not want to sleep any more. I sleep too much already. It is so cold, where Quincy sends me in my sleep. Deep into the house, farther in, not into the house we see. It is as if that house were a face, and when you see a face you can't see the brain or the thoughts of the person behind it. And it is so strange - the house inside the house." ********" How is it strange - this that you call the house inside the house?" She said vaguely, her eyes growing glassy, " Strange. Shapes change, and sizes. The rooms are different: bigger and blacker and longer and the shadows are full of things. Creatures - or sometimes the rooms get smaller, fewer, and the furnishings change and change, like the scenes in a kaleidoscope, and I see the people in the portraits walking about in them. "
20 " As I walked over the loose fragments of stone, which lay scattered and surveyed the sublimity and grandeur of the ruins, I recurred, by a natural association of ideas, to the times when these walls stood proudly in their original splendor, when the halls were the scenes of hospitality and festive magnificence, and when they resounded with the voices of those whom death had long since swept from earth. " Thus," said I, " shall the present generation - he who now sink in misery - and he who now swim in pleasure, alike pass away and be forgotten. "