Artist Thesaurus Quotes & Sayings

What is it about this book - essentially a military history of the first month of the First World War - which gives it its stamp and has created its enormous reputation? Four qualities stand out: a wealth of vivid detail which keeps the reader immersed in events, almost as an eyewitness; a prose style which is transparently clear, intelligent, controlled and witty; a cool detachment of moral judgment - Mrs. Tuchman is never preachy or reproachful; she draws on skepticism, not cynicism, leaving the reader not so much outraged by human villainy as amused and saddened by human folly. These first three qualities are present in all of Barbara Tuchman's work, but in The Guns of August there is a fourth which makes the book, once taken up, almost impossible to set aside. Remarkably, she persuades the reader to suspend any foreknowledge of what is about to happen. — Barbara W. Tuchman

Never feel lonely. You are never lonely. At the deepest core of your being, God resides. — Rajneesh

The main jokes in this film are about big things, love and life and zombies - we all get that. — Simon Pegg

Every artist needs canvass, mine just happens to be Microsoft Word and a Thesaurus. — Lori Lesko

Dangerous creatures, wallflowers. Approach them with the utmost caution. They sit quietly in corners, appearing abandoned and forlorn, when in truth they're sirens who lure men to their downfall. You won't even notice the moment she steals the heart right out of your body - and then it's hers for good. A wallflower never gives your heart back. — Lisa Kleypas

Lucien drawled from his seat along the length of the table, "I told you so, Tamlin." He flicked a glance toward his friend. "Your skills with females have definitely become rusty in recent decades." Tamlin. He glowered at Lucien, shifting in his seat. I tried not to stiffen at the other bit of information Lucien had given away. Decades. Tamlin — Sarah J. Maas

A man who wants trouble can find it anywhere. — Lisa Kleypas

All the rest of the nonsense a story requires is just a long seduction of the ending. You throw out murders and reversals and heroes and detectives and spies, juggle love affairs and near escapes and standoffs with marvellous guns, kidnappings and sorcery and comic relief and gravediggers and princesses and albino dragons, and it's all just to lure an ending into your bed. — Catherynne M Valente