Self Describing Quotes & Sayings

For the absurd man, it is not a matter of explaining and solving, but of experiencing and describing. Everything begins with lucid indifference. — Albert Camus

Glint, glisten, glitter, gleam ...
Tiffany thought a lot about words, in the long hours of churning butte. Onomatopoetic , she'd discovered in the dictionary, meant words that sounded like the thing they were describing, like cuckoo. But she thought there should be a word that sounds like the noise a thing would make if that thing made a noise even though, actually, it doesn't, but would if it did.
Glint, for example. If light made a noise as it reflected off a distant window, it'd go glint!And the light of tinsel, all those little glints chiming together, would make a noise like glitterglitter. Gleam was a clean, smooth noise from a surface that intended to shine all day. And glisten was the soft, almost greasy sound of something rich and oily. — Terry Pratchett

I am not my opinion of myself, I am not anything I can describe to me. I am only a part of a large system that cannot describe itself fully; therefore, I relax and I am in the point source of consciousness, of delight, of mobility, in the inner spaces. My tasks do not include describing me nor having an opinion about the system in which I live, biological or social or dyadic. I hereby drop that "responsibility".

I am much more than I can conceive or judge me to be. Any negative or positive opinions I have of me are false fronts, headlines, limited and unnecessary programmes written on a thin paper blowing about and floating around in the vastness of inner spaces. — John C. Lilly

The confusion of love with abuse is what allows abusers who kill their partners to make the absurd claim that they were driven by the depths of their loving feelings. The news media regrettably often accept the aggressors' view of these acts, describing them as "crimes of passion." But what could more thoroughly prove that a man did not love his partner? If a mother were to kill one of her children, would we ever accept the claim that she did it because she was overwhelmed by how much she cared? Not for an instant. Nor should we. Genuine love means respecting the humanity of the other person, wanting what is best for him or her, and supporting the other person's self-esteem and independence. This kind of love is incompatible with abuse and coercion. — Lundy Bancroft

It's strictly coincidental that Pluto of course was named for the god of the underworld and we're describing these Halloween moons — Alan Stern

Always tell us where we are. And don't just tell us where something is, make it pay off. Use description of landscape to help you establish the emotional tone of the scene. Keep notes of how other authors establish mood and foreshadow events by describing the world around the character. Look at the openings of Fitzgerald stories, and Graham Greene, they're great at this. — Janet Fitch

It was then that he started his novel The People Immortal, and when I read it later, many of its pages seemed to me very familiar. He found himself as a writer during the war. His pre-war books were nothing more than searching for his theme and language. He was a true internationalist and reproached me frequently for saying "Germans" instead of "Hitler's men" when describing the atrocities of the occupiers.' Ehrenburg was persuaded that it was Grossman's all-embracing world view which made the xenophobic Stalin hate him. — Vasily Grossman

Enchanting is not the word that would immediately spring to mind when describing a play that deals with fractal geometry, iterated algorithms, chaos theory and the second law of thermodynamics, but it is a perfect fit for Tom Stoppard's astonishing 1993 play, which is as beautiful as it is brilliant. This is one Stoppard drama that you don't have to be Einstein to understand
you can feel it as well as think it. ( ... ) Breathtaking, exhilarating and deeply satisfying. — Lyn Gardner

The whole experience of being hit by a bullet is very interesting and I think worth describing in detail. — George Orwell

Don't scorn your life just because it's not dramatic, or it's impoverished, or it looks dull, or it's workaday. Don't scorn it. It is where poetry is taking place if you've got the sensitivity to see it, if your eyes are open.
Philip Levine, describing what he learned from William Carlos Williams, via NPR — Philip Levine

I long ago lost a hound, a bay horse, and a turtle-dove, and am still on their trail. Many are the travellers I have spoken concerning them, describing their tracks and what calls they answered to. I have met one or two who had heard the hound, and the tramp of the horse, and even seen the dove disappear behind a cloud, and they seemed as anxious to recover them as if they had lost them themselves. — Henry David Thoreau

Although Erc was bitterly disappointed, there was another route to prestige. He possessed gifts of the mind sufficient to gain admittance to the order of Druids, the intellectual class of Celtic society. Members of the order were not practitioners of a specific religion, nor were they priests in the Christian sense of the word. The Greeks were more nearly correct by describing Druids as poet-philosophers. — Morgan Llywelyn

Poetry or science, what matters is saying it how you see it. Saying precisely what and how you saw, and no more. In science, poetry or describing a journey, accuracy is all you can do. Saying it as you saw. — Ruth Padel

The class of dishonest bees which I have been describing, may be termed the "Jerry Sneaks" of their profession, and after they have followed it for some time, they lose all disposition for honest pursuits, and assume a hang-dog sort of look, which is very peculiar. Constantly employed in creeping into small holes, and daubing themselves with honey, they often lose all the bright feathers and silky plumes which once so beautifully adorned their bodies, and assume a smooth and almost black appearance; just as the hat of the thievish loafer, acquires a "seedy" aspect, and his garments, a shining and threadbare look. — L.L. Langstroth

The self-talk of the ego-mind is so busy describing what is happening, judging whether it is good or bad for us, and telling us what we should think and do, that there is little opportunity for our inner knowing to be heard. Instead we remain attached to our assumptions, dreaming of the fulfillment we believe they will bring. — Russell Peters

The outright propagandist sets up in me such a fury of opposition I am not apt to care much whether he has got his facts straight or not. He is like someone standing on your toes between you and an open window, describing the view to you. All I ask of him to do is to open the window, stand out of the way, and let me look at the view for myself. — Katherine Anne Porter

Realism is for lazy-minded, semi-educated people whose atrophied imagination allows them to appreciate only the most limited and convention subject matter. Re-Fi is a repetitive genre written by unimaginative hacks who rely on mere mimesis. If they had any self-respect they'd be writing memoir, but they're too lazy to fact-check. Of course I never read Re-Fi. But the kids keep bringing home these garish realistic novels and talking about them, so I know that it's an incredibly narrow genre, completely centered on one species, full of worn-out cliches and predictable situations--the quest for the father, mother-bashing, obsessive male lust, dysfunctional suburban families, etc., etc. All it's good for is being made into mass-market movies. Given its old-fashioned means and limited subject matter, realism is quite incapable of describing the complexity of contemporary experience. — Ursula K. Le Guin

We are working on creating self-describing, self-organizing, self-diagnosing and self-repairing networks. — John Seely Brown

What we take anything to be profoundly affects how we go about describing it, and how we describe something profoundly affects how we go about explaining, accounting for, or understanding what is what we are, in a sense, defining, by our description. — R.D. Laing

The specific use of folks as an exclusionary and inclusionary signal, designed to make the speaker sound like one of the boys or girls, is symptomatic of a debasement of public speech inseparable from a more general erosion of American cultural standards. Casual, colloquial language also conveys an implicit denial of the seriousness of whatever issue is being debated: talking about folks going off to war is the equivalent of describing rape victims as girls (unless the victims are, in fact, little girls and not grown women). Look up any important presidential speech in the history of the United States before 1980, and you will find not one patronizing appeal to folks. Imagine: 'We here highly resolve that these folks shall not have died in vain; and that government of the folks, by the folks, for the folks, shall not perish from the earth. — Susan Jacoby

The phenomenon I'm describing, rooted so firmly in that primal human drive for self-preservation, probably doesn't sound surprising: We all know that people bring their best selves to interactions with their bosses and save their lesser moments for their peers, spouses, or therapists. And yet, so many managers aren't aware of it when it's happening (perhaps because they enjoy being deferred to). It simply doesn't occur to them that after they get promoted to a leadership position, no one is going to come out and say, "Now that you are a manager, I can no longer be as candid with you." Instead, many new leaders assume, wrongly, that their access to information is unchanged. But that is just one example of how hidden-ness affects a manager's ability to lead. — Ed Catmull

There is one thing where people are always right. It is when they are describing what they have been feeling when watching your film. You cannot say: No, you did not feel like that! — Pirjo Honkasalo

Describing good relatedness to someone, no matter how precisely or how often, does not inscribe it into the neural networks that inspire love. Self-help books are like car repair manuals: you can read them all day, but doing so doesn't fix a thing. Working on a car means rolling up your sleeves and getting under the hood, and you have to be willing to get dirt on your hands and grease beneath your fingernails. Overhauling emotional knowledge is no spectator sport; it demands the messy experience of yanking and tinkering that comes from a limbic bond. If someone's relationship today bear a troubled imprint, they do so because an influential relationship left its mark on a child's mind. When a limbic connection has established a neural pattern, it takes a limbic connection to revise it. (177) — Thomas Lewis

People sleep peacefully in their beds at night, because rough men stand ready to do violence on their behalf.

(By George Orwell) Describing your country's servicemen. — Steven Preece

All models divide naturally ... into two a priori parts: one is kinematics, whose aim is to parameterize the forms of the states of the process under consideration, and the other is dynamics, describing the evolution in time of these forms. — Rene Thom

Bernard of Clairvaux shared with Goethe and Balzac the art of charging narratives with his own charisma (and this is probably the only context in which those three names can be mentioned in one breath). On the surface self-representation was not the purpose of such narratives; they presented themselves as fiction or as commentaries on scripture. Let me suggest the word 'autography' to describe the process. 'Autography' is writing yourself into your own composition, not by describing yourself, but by infusing your own presence into it. The reader feels your presence, but sees someone or something else. — C. Stephen Jaeger

The primary opportunity is to use a model or paradigm for describing ADD that's not disease-based and doesn't imply brain damage or what many children interpret as some type of retardation ... a person must have hope; this model restores self-esteem, thus empowering individuals to change. — Thom Hartmann

This is all very fine, but it won't do-Anatomy-botany-Nonsense! Sir, I know an old woman in Covent Garden, who understands botany better, and as for anatomy, my butcher can dissect a joint full as well; no, young man, all that is stuff; you must go to the bedside, it is there alone you can learn disease!
Comment to Hans Sloane on Robert Boyle's letter of introduction describing Sloane as a 'ripe scholar, a good botanist, a skilful anatomist'. — Thomas Sydenham

Poetry, from describing external events objectively, is becoming subjectified into a poetry of personal conscious expression. — Julian Jaynes

Often while reading a book one feels that the author wouold heave preferred to paint rather than to wirte; one can sense the pleasure he derives from describing a landscape or a person, as if he were painting what he is saying, because deep in his heart he would have preferred to use brushes and colors. — Pablo Picasso

Up again to the crest, and still no sight of land. Something that looked like clouds - or could it be ships? - far away on his left. Then, down, down, down - he thought he would never reach the end of it . . . this time he noticed how dim the light was. Such tepid revelry in water - such glorious bathing, as one would have called it on earth, suggested as its natural accompaniment a blazing sun. But here there was no such thing. The water gleamed, the sky burned with gold, but all was rich and dim, and his eyes fed upon it undazzled and unaching. The very names of green and gold, which he used perforce in describing the scene, are too harsh for the tenderness, the muted iridescence, of that warm, maternal, delicately gorgeous world. It was mild to look upon as evening, warm like summer noon, gentle and winning like early dawn. It was altogether pleasurable. He sighed. — C.S. Lewis

(Describing a whale killed during Una's maiden voyage) ... He was nearly twice the size of my sixty-barrel whale. Could the animal really be stowed below as small casks of oil? At your own death, I asked myself, can the vastness of your own experience be buried in the ground, funneled into nothing but the shape of a grave? — Sena Jeter Naslund

Actually, there is no such thing as a homosexual person, any more than there is such a thing as a heterosexual person. The words are adjectives describing sexual acts, not people. The sexual acts are entirely normal; if they were not, no one would perform them. — Gore Vidal

We accepted a definition of ourselves which confined the self to the source and to the limitations of conscious attention. This definition is miserably insufficient, for in fact we know how to grow brains and eyes, ears and fingers, hearts and bones, in just the same way that we know how to walk and breathe, talk and think only we can't put it into words. Words are too slow and too clumsy for describing such things, and conscious attention is too narrow for keeping track of all their details. — Alan Watts

Third, this allowed us to propose what we called the cosmological interpretation of quantum mechanics. Here we interpret the wavefunction for an object as describing not some funky imaginary ensemble of possibilities for what the object might be doing, but rather the actual spatial collection of identical copies of the object that exist in our infinite space. Moreover, quantum uncertainty that you experience simply reflects your inability to self-locate in the Level I multiverse, i.e., to know which of your infinitely many copies throughout space is the one having your subjective perceptions. — Max Tegmark

By the way, leafing through my dictionary I am struck by the poverty of language when it comes to naming or describing badness. Evil, wickedness, mischief, these words imply an agency, the conscious or at least active doing of wrong. They do not signify the bad in its inert, neutral, self-sustaining state. Then there are the adjectives: dreadful, heinous, execrable, vile, and so on. They are not so much as descriptive as judgmental. They carry a weight of censure mingled with fear. Is this not a queer state of affairs? It makes me wonder. I ask myself if perhaps the thing itself - badness - does not exist at all, if these strangely vague and imprecise words are only a kind of ruse, a kind of elaborate cover for the fact that nothing is there. Or perhaps words are an attempt to make it be there? Or, again, perhaps there is something, but the words invented it. Such considerations make me feel dizzy, as if a hole had opened briefly in the world. — John Banville

The ultimate Mystery of being, the ultimate Truth, is Love. This is the essential structure of reality. When Dante spoke of the 'love which moves the sun and the other stars', he was not using a metaphor, but was describing the nature of reality. There is in Being an infinite desire to give itself in love and this gift of Self in love is for ever answered by a return of love ... and so the rhythm of the universe is created. — Venerable Bede

The common thread for everything I do is this idea of a Web-services architecture. What does that mean? It means taking components of software and systems and having them be self-describing, so that you can aim them, ask them what their capabilities are, and communicate with them using a standard protocol. — Bill Gates

What Proust is describing is an act of self-discovery on the part of his reader. Immersing herself in Proust, the reader may encounter aspects of herself that, while they have perhaps been in existence for a long time, have remained unnamed, undescribed, and therefore in a certain sense unknown. One might say that the reader learns the language of herself — Mark Edmundson

I actually chafe at describing myself as masculine. For one thing, masculinity itself is such an expansive territory, encompassing boundaries of nationality, race, and class. Most importantly, individuals blaze their own trails across this landscape. And it's hard for me to label the intricate matrix of my gender as simply masculine.

To me, branding individual self-expression as simply feminine or masculine is like asking poets: Do you write in English or Spanish? The question leaves out the possibilities that the poetry is woven in Cantonese or Ladino, Swahili or Arabic. The question deals only with the system of language that the poet has been taught. It ignores the words each writer hauls up, hand over hand, from a common well. The music words make when finding themselves next to each other for the first time. The silences echoing in the space between ideas. The powerful winds of passion and belief that move the poet to write. — Leslie Feinberg

But this first clumsy attempt showed her that the imagination itself was a source of secrets: once she had begun a story, no one could be told. Pretending in words was too tentative, too vulnerable, too embarrassing to let anyone know. Even writing out the she saids, the and thens, made her wince, and she felt foolish, appearing to know about the emotions of an imaginary being. Self-exposure was inevitable the moment she described a character's weakness; the reader was bound to speculate that she was describing herself. What other authority could she have? — Ian McEwan

At the same time that "self-made" entered the nation's lexicon, so did the notion of abject failure. Once reserved to describe a discrete financial episode - "I made a failure," a merchant would say after losing his shop - "failure" in antebellum America became a matter of identity, describing not an event but a person. As the historian Scott Sandage explains in Born Losers: A History of Failure in America, the phrase "I feel like a failure" comes to us so naturally today "that we forget it is a figure of speech: the language of business applied to the soul." It became conventional wisdom in the early nineteenth century, Sandage explains, that people who failed had a problem native to their constitution. They weren't just losers; they were "born losers. — Joshua Wolf Shenk

After reading about ten of those self-help books, I saw that they were leading nowhere. They have an immediate effect, but that effect stops as soon as I close the book. They're just words, describing an ideal world that doesn't exist, not even for the people who wrote them. — Paulo Coelho

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. — Molly Harper

There is here a striving,avid and worldly civilisation, of course; these huge and eager markets, to this incessant buying and selling, that make that self evident; but I had no conception of the ubiquitous sense of the holy, no notion of how another world can permeate the secular. Filth, stench, disease,"gross superstition" as our people say, extreme poverty, promiscuous universal defecation, do not affect it: nor do they affect my sense of humanity with which I am surrounded. What an agreeable city it is, where a man may walk around naked in the heat if it so please him — Patrick O'Brian

For the writer under Actually Existing Socialism describing sex is a simple matter: he simply does not do it (the describing, I mean, not the sex). — Philip Sington

[About describing atomic models in the language of classical physics:]
We must be clear that when it comes to atoms, language can be used only as in poetry. The poet, too, is not nearly so concerned with describing facts as with creating images and establishing mental connections. — Niels Bohr

I love her [Kimberly Peirce]. Incredibly intense is a good way of describing her. Brutally honest. Really sharp. She's a director for actors. That's what she's best at, sitting down with an actor and just getting to the heart of what a scene is. And getting to the heart of not just what the scene is and the character is, but what you are, and how to build that bridge between the "me" and the character, and those emotions. — Joseph Gordon-Levitt

The way of the unconscious is different. Symbols gather round the thing to be explained, understood, interpreted. The act of becoming conscious consists in the concentric grouping of symbols around the object, all circumscribing and describing the unknown from many sides. Each symbol lays bare another essential side of the object to be grasped, points to another facet of meaning. Only the canon of these symbols congregating about the center in question, the coherent symbol group, can lead to an understanding of what the symbols point to and of what they are trying to express. — Erich Neumann

Who helped you most? Most often they (suffering people) answer by describing a quiet, unassuming person. Someone who was there whenever needed, who listened more than talked, who didn't keep glancing down at a watch, who hugged and touched, and cried. In short, someone who was available, and came on the sufferer's terms and not their own. — Philip Yancey

Describing laughter: The sound is produced by a deep inspiration followed by short, interrupted, spasmodic contractions of the chest, and especially the diaphragm ... the mouth is open more or less widely, with the corners drawn much backwards, as well as a little upwards; and the upper lip is somewhat raised. — Charles Darwin

There was a time when formal clothes were one of life's great pleasures, as well as a way of describing instantly a man's status wealth. Toffs wore the most, the proles the least. Fast forward to 2008 and clothes are still an unrivalled pleasure but some men - and this includes many of our betters - have confused status with fake informality. — Peter York

Lawyers often face intense demands but have relatively little "decision latitude." Behavioral scientists use this term to describe the choices, and perceived choices, a person has. In a sense, it's another way of describing autonomy - and lawyers are glum and cranky because they don't have much of it. — Daniel H. Pink

When I see a movie, the music often gets in the way for me. It's something that, say, for myself and Claire, we never, ever speak about. We never speak about describing emotion. I think it's about color and movement. And I think it's important to let the images be the melody, as well, a lot of the time - to create a kind of a backing for that, to let it sing. — Stuart A. Staples

Despite all the videos you see from the Ministry of Defence or the Pentagon, and all the sanitised language describing smart bombs and pinpoint strikes, the scene on the ground has remained remarkably the same for hundreds of years. Craters. Burned houses. Mutilated bodies. Women weeping for children and husbands. Men for their wives, mothers children. — Marie Colvin

I think the tendency to over-explain and over describe is one of the most common failings in fantasy. It's an unfortunate piece of Tolkien's legacy. Don't get me wrong, Tolkien was a great worldbuilder, but he got a little caught up describing his world at times, at the expense of the overall story. — Patrick Rothfuss

in describing the various writers of his idolatry he more than once lets fall a phrase that could equally apply to himself. 'To read Spenser,' he says, 'is to grow in mental health.' What he values in Addison is his 'open-mindedness.' The moments of despair chronicled in Scott's diary cannot, he claims, counterpoise 'that ease and good temper, that fine masculine cheerfulness' suffused through the best of the Waverly novels. Most of all it was the chiaroscuro of what Chaucer called 'earnest' and 'game' that attracted him. He found it eminently in the poetry of Dunbar, that late-medieval Scottish maker who wrote the greatest religious poetry and the earthiest satire in the language — Jocelyn Gibb

And then he says, "The writer must be true to truth." And that's a killer, because the only way you can describe a human being truly is by describing his imperfections. The perfect human being is uninteresting - the Buddha who leaves the world, you know. It is the imperfections of life that are lovable. And when the writer sends a dart of the true word, it hurts. But it goes with love. This is what Mann called "erotic irony," the love for that which you are killing with your cruel, analytical word. — Joseph Campbell

I was working with a Crookes tube covered by a shield of black cardboard. A piece of barium platino-cyanide paper lay on the bench there. I had been passing a current through the tube, and I noticed a peculiar black line across the paper ...
The effect was one which could only be produced in ordinary parlance by the passage of light. No light could come from the tube because the shield which covered it was impervious to any light known even that of the electric arc ...
I did not think I investigated ...
I assumed that the effect must have come from the tube since its character indicated that it could come from nowhere else ... It seemed at first a new kind of invisible light. It was clearly something new something unrecorded ...
There is much to do, and I am busy, very busy.
[Describing to a journalist the discovery of X-rays that he had made on 8 Nov 1895.] — Wilhelm Conrad Rontgen

The word hammockable (describing two trees that are the perfect distance apart between which a hammock can be hung) is not in the dictionary, but it should be. [Of lying in hammocks] — Dan Kieran

A 5'5", 182-pound, 43-year-old man wearing khaki shorts and a UCLA sweatshirt runs to Nicolas Cage in a manner he will spend the rest of the night describing to his slightly bored but equally boring date as "ambushing." No one else is on the street and Nicolas Cage is unable to avoid the man, who wants a picture with his "brand new Droid." As the man, who actually seems to be vibrating and hovering in an almost hummingbird-like way, adjusts his stance for the third attempt at a picture his crotch lightly brushes Nicolas Cage's upper thigh, causing his face to shift from "bemused resignation" to, strangely, "serene bliss," for what will become the man's inaugural Facebook profile picture. — Megan Boyle

All photographs are about light. The great majority of photographs record light as a way of describing objects in space. A few photographs are less about objects and more about the space that contains them. Still fewer photographs are about light itself. — John Paul Caponigro

Certain things can't be approximated, so I'm always interested in getting in another way, one which makes the reader bend in closer to the scene even if that scene, especially if that scene, is painful ... Brutal language isn't necessarily the most truthful way of describing a brutal moment. — Anne Michaels

And all the books you've read have been read by other people. And all the songs you've loved have been heard by other people. And that girl that's pretty to you is pretty to other people. and that if you looked at these facts when you were happy, you would feel great because you are describing 'unity. — Stephen Chbosky

When you gossip about another person, listeners unconsciously associate you with the characteristics you are describing, ultimately leading to those characteristics' being "transferred" to you. So, say positive and pleasant things about friends and colleagues, and you are seen as a nice person. In contrast, constantly complain about their failings, and people will unconsciously apply the negative traits and incompetence to you. — Richard Wiseman

Kvothe looked at Bast for a long moment. "Oh Bast," he said softly to his student. His smile was gentle and sad. "I know what sort of story I'm telling. This is no comedy."
"This is the end of the story, Bast. We all know that." Kvothe's voice was matter-of-fact, as casual as if he were describing yesterday's weather. "I have led an interesting life, and this reminiscence has a certain sweetness to it. But ... "
Kvothe drew a deep breath and let it out gently. " ... but this is not a dashing romance. This is no fable where folk come back from the dead. It's not a rousing epic meant to stir the blood. No.
We all know what kind of story this is. — Patrick Rothfuss

It is not that Edwards did not use the social analogy; his understanding that God as the Persons of the Father, Son, and Spirit equate to mind, idea, and love in his psychological analogy (as Caldwell insists). It is just that Edwards does not use the social analogy when describing participation of the saints in God and therefore pays the price for seeking to make a Spirit who defines the essence of the Godhead the same Spirit that indwells and becomes the vital principle of the nature of regenerate human beings. — W Ross Hastings

"Real" drawing is about specifics. It's about describing an object as accurately as possible. In a comic strip you have to draw a picture of the idea of the object. You have to draw the word that you are picturing, then you have to mix in specifics with it for it to work as a story. But you are still working with drawn words. — Chris Ware

Somehow, I cannot see anyone describing me as gracious, loving, and happy." He frowned at his sandwich as if in puzzlement. "You are loving," Anna replied staunchly, though she hadn't exactly planned for those words to leave her mouth. "Now that is beyond surprising." The earl eyed her in the deepening shadows. "How do you conclude such a thing, Mrs. Seaton?" "You have endless patience with your family, my lord," she began. "You escort your sisters everywhere; you dance attendance on them and their hordes of friends at every proper function; you harry and hound the duke so his wild starts are not the ruination of his duchy. You force yourself to tend to mountains of business which you do not enjoy, so your family may be safe and secure all their days." "That is business," the earl said, looking nonplussed that his first sandwich had disappeared, until Anna handed him a second. — Grace Burrowes

But in general, for the purposes of most novelists, the number of objects genuinely necessary for ... describing a scene will be found to be very small. — Elizabeth Bowen

The classic hustle is still famous, even today, for the cold purity of its execution: bring opium from India, introduce it into China00howdy Fong, this here's opium, opium, this is Fong - ah, so, me eatee! - no-ho-ho, Fong, you smokee, smokee, see? pretty soon Fong's coming back for more and more, so you create an inelastic demand for that shit, get China to make it illegal, then sucker China into a couple-three disastrous wars over the right of your merchants to sell opium, which by now you are describing as sacred. You win, China loses. Fantastic. — Thomas Pynchon

So often, environmentalists and others working to slow the destruction are capable of plainly describing the problems (Who wouldn't be? The problems are neither subtle nor cognitively challenging), yet when faced with the emotionally daunting task of fashioning a response to these clear and clearly insoluble problems, we generally suffer a failure of nerve and imagination. Gandhi wrote a letter to Hitler asking him to stop committing atrocities, and was mystified that it didn't work. I continue to write letters to the editor pointing out untruths, and continue to be surprised each time the newspaper publishes its next absurdity. At least I've stopped writing to politicians. — Derrick Jensen

...obscurantist feature in social scientists trying to combine pluralism with environmentalism. They are so preoccupied with the role of prejudice in creating hostile environments that they perpetually deny the obvious, that stereotypes are rough generalizations about groups derived from long-term observation. Such generalizations are usually correct in describing group tendencies and in predicting certain collective actions, even if they do not adequately account for differences among individuals. Nonetheless, as Goldberg explains, the self-described pluralist and prominent psychologist Gordon Allport went out of his way in The Nature of Prejudice (1954) to reject stereotypes as factually inaccurate as well as socially harmful. For Allport and a great many other social Scientists, nothing is intuitively correct unless it is politically so. — Paul Edward Gottfried

In describing today's accelerating changes, the media fire blips of unrelated information at us. Experts bury us under mountains of narrowly specialized monographs. Popular forecasters present lists of unrelated trends, without any model to show us their interconnections or the forces likely to reverse them. As a result, change itself comes to be seen as anarchic, even lunatic. — Alvin Toffler