Text Words Quotes & Sayings

A book is not necessarily made of paper. A book is not necessarily made to be read on a Kindle. A book is a collection of text, organized in one of a variety of ways. You could say that words printed on paper and bound between cloth covers will someday be obsolete. But if and when that day comes, there will still be a thing called books. — James Gleick

Designers provide ways into - and out of - the flood of words by breaking up text into pieces and offering shortcuts and alternate routes through masses of information. ( ... ) Although many books define the purpose of typography as enhancing the readability of the written word, one of design's most humane functions is, in actuality, to help readers avoid reading. — Ellen Lupton

Haven't you noticed that you tend to understand a person a lot better when you're in direct contact than you do over the phone? Then you make use of the words 'what do you mean?' or a lot less. This is because a great deal of context is lost when you're having a verbal-only conversation, and a lot more is lost when you engage in a text only conversation. We — Jack Steel

There is a movement happening, a quiet one.
A low-profile, low-resolution revolution.
Comprised of writers and dreamers, of guerrilla artists and thought-ninjas.
Those with something to say.
They communicate through text inscribed on true public spaces, rather than blogs and forums.
Choosing fewer words, even without being bound by 140 character limits.
Using ink instead of pixels.
Sending messages in living, breathing space.
Pens scream louder into the void.
Even if permanent ink is not aptly named. — Erin Morgenstern

There is room in heaven for a vast multitude, yea, room enough for all mankind that are or ever shall be; Luke xiv. 22, "Lord it is done as thou hast commanded, and yet there is room." It is not with the heavenly temple as it often is with houses of public worship in this world, that they fill up and become too small and scanty for those that would meet in them, so that there is not convenient room for all. There is room enough in our heavenly Father's house. This is partly what Christ intended in the words of the text, as is evident from the occasion of his speaking them. — Jonathan Edwards

Daniel pointed to a dense paragraph of text. Luce hadn't realized until then that the book was written in Latin. She recognized a few words from the years of Latin class she'd taken at Dover. Daniel had underlined and circled several words and made some notes in the margins, but time and wear had made the pages almost illegible.
Arriane hovered over him. That's some serious chicken scratch. — Lauren Kate

I like acting with no lines because all of a sudden you're able to express things without always worrying about the text. It's great to have a great text, but there's a lot of stuff you can't say in words, and I think there's something really nice about good physical moments. — Zooey Deschanel

Whether one likes it or not, every reader is at the same time an interpreter. That is, most of us assume as we read that we also understand what we read. We also tend to think that our understanding is the same thing as the Holy Spirit's or human author's intent. However, we invariably bring to the text all that we are, with all of our experiences, culture, and prior understandings of words and ideas. Sometimes what we bring to the text, unintentionally to be sure, leads us astray, or else causes us to read all kinds of foreign ideas into the text. — Gordon D. Fee

From deep in the tradition, from The Cloud of Unknowing, a fourteenth-century text from an unnamed English monk: "You only need a tiny scrap of time to move toward God." The words slap. Busyness is not much of an excuse if it only takes a minute or two to move toward God. But the monk's words console, too. For, of time and person, it seems that scraps are all I have to bring forward. That my ways of coming to God these days are all scraps. — Lauren F. Winner

I detest that woman [Rachel Lynde] more than anybody I know. She can put a whole sermon, text, comment, and application, into six words, and throw it at you like a brick. — L.M. Montgomery

European languages and a Google app can now turn your words into a foreign language, either in text form or as an electronic voice. Skype, an internet-telephony service, said recently that it would offer much the same (in English and Spanish only). But claims that such technological marvels will spell the end of old-fashioned translation businesses are premature. Software can give the gist of a foreign tongue, but for business use (if executives are sensible), rough is not enough. And polyglot programs are a pinprick in a vast industry. The business of translation, interpreting and software localisation (revising websites, apps and the like for use in a foreign language) generates revenues of $37 billion a year, reckons Common Sense Advisory (CSA), a consulting firm. — Anonymous

For most writers, reading is also a very intense experience; they don't read so much as compete. The writer measure's himself against every text he encounters, imagining he could do it better or wishing he had thought of it first. The natural writer would almost always rather be reading, writing, or alone, except of course when he needs to come up for air (that is, for subject matter, food, sex, love, attention). He may be a selfish son of a bitch, he may seem to care more about his work than about the people in his life, he may be a social misfit, a freak, or a smooth operator, but every person who does serious time with a keyboard is attempting to translate his version of the world into words so that he might be understood. Indeed, the great paradox of the writer's life is how much time he spends alone trying to connect with other people. — Betsy Lerner

There is some argument about who actually invented text messaging, but I think it's safe to say it was a man. Multiple studies have shown that the average man uses about half as many words per day as women, thus text messaging. It eliminates hellos and goodbyes and cuts right to the chase. — Ashton Kutcher

Twitter is basically text messaging. Twitter is a guy you can always elbow in the side and say, "Hey, look, a guy in a clown suit just threw up!" And I don't have 400-800 words to say about that, I just wanted to say that one thing. — Chris Hardwick

Faced with a wealth of text but a poverty of context, scholars have focused obsessively on what they can know. They have counted every word he wrote, logged every dib and jot. They can tell us (and have done so) that Shakespeare's works contain 138,198 commas, 26,794 colons, and 15,785 question marks; that ears are spoken of 401 times in his plays; that dunghill is used 10 times and dullard twice; that his characters refer to love 2,259 times but to hate just 183 times; that he used damned 105 times and bloody 226 times, but bloody-minded only twice; that he wrote hath 2,069 times but has just 409 times; that all together he left us 884,647 words, made up of 31,959 speeches, spread over 118,406 lines. — Bill Bryson

The stories surrounding eating durians remind us that literature should incorporate low culture, bringing it closer to lived reality. These legends come not from the pens of the elite, but are assembled from the words of the masses, both written and spoken, passed from one person to another - the only way to create a text this deep and compelling. — Wong Yoon Wah

I will quote one sentence from this text, namely, the one with which it ended. It was also the sentence which finally dissolved the writer's block that had inhibited the author from starting work. I have since used it whenever I myself have been gripped by fear of the blank sheet in front of me. It is infallible, and its effect is always the same: the knot unravels and a stream of words gushes out on to the virgin paper. It acts like a magic spell and I sometimes fancy it really is one. But, even if it isn't the work of a sorcerer, it is certainly the most brilliant sentence any writer has ever devised. It runs: 'This is where my story begins.' — Walter Moers

Language is not primarily informational but revelatory. The Holy Scriptures give witness to a living voice sounding variously as Father, Son and Spirit, addressing us personally and involving us personally as participants. This text is not words to be studies in the quiet preserves of a library, but a voice to be believed and loved and adored in workplace and playground, on the streets and in the kitchen. Receptivity is required. — Eugene H. Peterson

night, I think I can hear the stars scraping against the sky. That's how quiet it is. After a while it's almost more than I can stand. I want to scream at the top of my lungs. I want to sing, shout, stamp my feet, clap my hands, anything to declare my presence. My conversation with the soldier had been the first words I'd said aloud in weeks. The Hum died on the tenth day after the Arrival. I was sitting in third period texting Lizbeth the last text I — Rick Yancey

The truth that writers secretly harbor is that all books are failures. We try to do something that can't be done. Words. Is that all we rely on? Smudgy ink marks on a page? Pallid wisps and blotches? Text as scaffolding trying to hold up worlds? Actually, no, it's not all we rely on. What's worse is our reliance on the reader. A writer is forever locked in an interdependent relationship. It's like building a bridge from opposite sides of a river - our flimsy words and their frail, overreaching imaginations. The bridge will never meet in the middle. It's not possible. Sometimes you haven't even decided on the same river. The Gateway Arch in Saint Louis missed in the middle by a matter of inches the first time around. They tried again and made it. Writers know we never will. — Julianna Baggott

The power of a text is not time-bound. The words go on doing their work. — Jeanette Winterson

We read in slow, long motions, as if drifting in space, weightless. We read full of prejudice, malignantly. We read generously, making excuses for the text, filling gaps, mending faults. And sometimes, when the stars are kind, we read with an intake of breath, with a shudder ... as if a memory had suddenly been rescued from a place deep within us
the recognition of something we never knew was there ... — Alberto Manguel

The direct effect on our mind is achieved by the words, the text, the thought, which arouse consideration. Our will is directly affected by the super-objective, by other objectives, by a through line of action. Our feelings are directly worked upon by tempo-rhythm. — Constantin Stanislavski

If we compare the present state of the New Testament text with that of any other ancient writing, we must ... declare it to be marvelously correct. Such has been the care with which the New Testament has been copied - a care which has doubtless grown out of true reverence for its holy words ... The New Testament is unrivaled among ancient writings in the purity of its test as actually transmitted and kept in use. — B. B. Warfield

(Dorothy) Dunnett is the master of the invisible, particularly in her later books. Where is this tension coming from? Why is this scene so agonizing? Why is this scene so emotional? Tension and emotion pervade the books, sometimes almost unbearably, yet when you look at the writing, at the actual words, there's nothing to show that the scene is emotional at all. I think it is because Dunnett layers her novels, meaning that each event is informed by what has come before (and what came before that, and what came before that) but Dunnett doesn't signpost in the text that this is happening, leaving it to the reader to bring the relevant information to the table — C.S. Pacat

I go through the text making sure I haven't used any big words. If I find any fancy adjectives have crept in, I replace them with small words like 'nice' and 'big'. I've liked these words ever since I was told not to use them in English class at school. After that, I check that the sentences are short so as people won't get confused and I shorten all the chapters so they won't get bored. I can't read anything complicated these days, my attention span is too short. Everyone else probably feels the same. — Martin Millar

A film in cinema is what in theatre would be realism - and vice versa.
In cinema - as in life - the text, the words, are refracted in everything
apart from the words themselves. The words mean nothing
words are water. — Andrei Tarkovsky

In practically every film you experience, you can see the director following the text. Illustrating the words first, making the pictures after, and, alas, so often not making pictures at all, but holding up the camera to do its mimetic worst. — Peter Greenaway

When Dr. James Young Simpson sought to apply anesthesia to a woman in childbirth, the clergymen of his day foamed at the mouth and spat upon him with vituperation and abuse, for attempting to violate God's direct command that 'in pain thou shalt bring forth children,' as based upon the idiotic text of the Bible. But Dr. Simpson persisted despite the ravings of the religious lunatics of his day.
The importance of Dr. Simpson's application of anesthesia to the relief of pain in childbirth, and his open defiance of the religionists, are beyond the measure of words to evaluate. — Joseph Lewis

This is how space begins, with words only, signs traced on the blank page. To describe space: to name it, to trace it, like those portolano-makers who saturated the coastlines with the names of harbours, the names of capes, the names of inlets, until in the end the land was only separated from the sea by a continuous ribbon of text. Is the aleph, that place in Borges from which the entire world is visible simultaneously, anything other than an alphabet? — Georges Perec

More than conventional picture books, the notebook format allows me to leap from words to images, and this free-flowing back-and-forth inspires my best work. It reflects the way I think - sometimes visually, sometimes verbally - with the pictures not there just to illustrate the text but to replace it, to tell their own story. — Marissa Moss

To engage the written word means to follow a line of thought, which requires considerable powers of classifying, inference-making and reasoning. It means to uncover lies, confusions, and overgeneralizations, to detect abuses of logic and common sense. It also means to weigh ideas, to compare and contrast assertions, to connect one generalization to another. To accomplish this, one must achieve a certain distance from the words themselves, which is, in fact, encouraged by the isolated and impersonal text. That is why a good reader does not cheer an apt sentence or pause to applaud even an inspired paragraph. Analytic thought is too busy for that, and too detached. — Neil Postman

We have cut the text, but what remains are Shakespeare's words. — Edward Hall

Digestion of words as well; I often read aloud to myself in my writing corner in the library, where no one can hear me, for the sake of better savouring the text, so as to make it all the more mine. — Alberto Manguel

As soon as I stopped trying to exploit my literary skills to advance my career or enhance my reputation, I found that I was opening myself to the text, could lose myself to the beauty of the words and in the wisdom of the writer. It was a kind of ekstasis, an ecstasy that was not an exotic, tranced state of consciousness but, in the literal sense of the word, a going beyond self. — Karen Armstrong

The sign stopped me
or rather, this text stopped me. Words are my profession; I seized these and demanded that they explain themselves, that they cease to be ambiguous. — Daniel Quinn

When you make as many speeches and you talk as much as I do and you get away from the text, it's always a possibility to get a few words tangled here and there. — Dan Quayle

We must find a balance between "reddish whites," "bluish whites" and "yellowish whites," and decide on the proper length and thickness of the fiber. Then each part of the book can play its proper role: the front cover conveys a powerful silence; the inside cover the purity of first openings; the title page the texture of new beginnings; while the body of the text sets the words and pictures against a clear background, or whispers "touch me!" to the reader's fingertips — Kenya Hara

...the book typographer's job was building a window between the reader inside a room and that landscape which is the author's words. He may put up a stained glass window of marvelous beauty, but a failure as a window; that is he may use some rich superb type like text gothic that is something to be look at, not through. — Simon Garfield

If you're going to do Shakespeare, do Shakespeare. There's a reason why he's been performed for hundreds of years. His words affect people on a very deep level. He's the true humanist. That all comes through his text, his words. — Christian Camargo

Why? Because true translation is not a binary affair between two languages but a triangular affair. The third point of the triangle being what lay behind the words of the original text before it was written. True translation demands a return to the pre-verbal — John Berger

The exact same text was slightly different to read when viewed on the printed pages rather than on the word processor's screen. The feel of the words he chose would change depending on whether he was writing them on paper in pencil or typing them on the keyboard. It was imperative to do both. — Haruki Murakami

The kings had, however, begun to realize its potential for extending communication, in an almost magical way, beyond what could be accomplished with the spoken word. Writing could perpetually and eternally address an audience on a king's behalf; the words were always there, even when the king was not thinking about them. Given that the population was almost entirely illiterate, such an audience was mostly made up of gods. The statuette of the king's personal god (or sometimes of the king himself), inscribed with the same text as the tablet, could therefore pray continuously in a way that a real person could not. — Amanda H. Podany

Composers need words, but they do not necessarily need poetry. The Russian composer, Aleksandr Mossolov, who chose texts from newspaper small ads, had a good point to make. With revolutionary music, any text can be set to work. — James Fenton

What is clear is that Scripture requires both head and heart, and you need to see it not just as a text but as the very words of God. This will encourage you to pay close attention to the very words he uses, but it will also compel you to feast on those words as light-shedding, wisdom-dispensing, and life-giving counsel from on high.

For all your longing for God to speak, to make his will plain and his plan clear, you should be daily immersed in God's Word. This is his voice, his will, and his plan made known to you. Consider these words, "Make your face shine upon your servant, and teach me your statutes." God's face shines on you when you are learning - experientially - his Word. — Joe Thorn

Politics of Friendship is, in other words, only a book between covers. For the real text, you must enter the classroom, put yourself to school, as a preview of the formation of collectivities. A single "teacher's" "students," flung out into the world and time, is, incidentally, a real-world example of the precarious continuity of a Marxism "to come," aligned with grassroots counterglobalizing activism in the global South today, with little resemblance to those varieties of "Little Britain" leftism that can take on board the binary opposition of identity politics and humanism, shifting gears as the occasion requires. — Gayatri Chakravorty Spivak

When you achieve it fully, you create something that's transparent - that people can move into and through their own experiences. As a writer, I don't want people spending time thinking, "What does she mean?" I want, in a way, my text to go away. So that the words on the page become a door to one's own internal investigation. It's just a passage. If the work does its job, it just opens. — Claudia Rankine

In a poem, the words happen; they just come. I let them. Otherwise, I wouldn't write. To interfere with what is happening is to distort the poem. Just a very small degree of intelligence and supervision is necessary. Very tactful. Any revision later that violates the text as it came, that begins rewriting the words, is fake. — Louis Dudek

Certainly I was a very religious child, a deeply weird and very emotional child, an only child with lots of imaginary friends and a very active imagination. I loved Sunday school and Bible camp and all that. I had my own white Bible with Jesus' words printed in red in the text; I even spoke at youth revivals. — Lee Smith

The fact that books today are mostly a string of words makes it easier to forget the text. With the impact of the iPad and the future of the book being up for re-imagination, I wonder whether we'll rediscover the importance of making texts richer visually. — Joshua Foer

The text illustrates the pictures - it provides a connective tissue for me. I usually refine the text last, partly because pictures are harder to do, so it's easier to edit words - I use text as grout in between the tiles of the pictures. — Shaun Tan

She texted me 'I love you.'
I texted back 'I love you too.'
She then texted me 'I love you more.'
And I smiled reading her message and texted in reply 'No, I love you more.'
Then she texted me 'I love you infinity power infinity power infinity into infinity.'
I had no words to reply and smiled looking at her text! — Avijeet Das

I have one rule when adapting any text: nothing gets added; all the words are the original author's own. But in the ordering and recreation of the story, I can do as I please, and to me, the heart and the point of 'Dracula' is appetite. — Kathe Koja

Another important consequence in the arrival of digital technology and its facilitation of feedback is that we can look at large systems and recognize them once more not only as part of ourselves, but also as components that can change ...
Now, though, we live in a world where text is fluid, where is responds to our instructions. Writing something down records it, but does not make it true or permanent. So why should we put up with a system we don't like simply because it's been written somewhere? — Nick Harkaway

Words inscribe a text in the same way that a walk inscribes space. — Geoff Nicholson

An illustration is an enlargement, and interpretation of the text, so that the reader will comprehend the words better. As an artist, you are always serving the words.
You must never illustrate exactly what is written. You must find a space in the text so that the pictures can do the work. Then you must let the words take over where words do it best. It's a funny kind of juggling act. — Maurice Sendak

But all over-expression, whether by journalists, poets, novelists, or clergymen, is bad for the language, bad for the mind; and by over-expression, I mean the use of words running beyond the sincere feeling of writer or speaker or beyond what the event will sanely carry. From time to time a crusade is preached against it from the text: 'The cat was on the mat.' Some Victorian scribe, we must suppose, once wrote: 'Stretching herself with feline grace and emitting those sounds immemorially connected with satisfaction, Grimalkin lay on a rug whose richly variegated pattern spoke eloquently of the Orient and all the wonders of the Arabian Nights.' And an exasperated reader annotated the margin with the shorter version of the absorbing event. How the late Georgian scribe will express the occurrence we do not yet know. Thus, perhaps: 'What there is of cat is cat is what of cat there lying cat is what on what of mat laying cat.' The reader will probably the margin with 'Some cat! — John Galsworthy

We look to the history of the time of framing and to the intervening history of interpretation. But the ultimate question must be, what do the words of the text mean in our time. — William J. Brennan Jr.

Vast volumes of mixed media surround us, from music to games and videos. Yet almost all of our online actions still begin and end with writing: text messages, status updates, typed search queries, comments and responses, screens packed with verbal exchanges and, underpinning it all, countless billions of words. — Tom Chatfield

Try to visualize all the streams of human interaction, of communication. All those linking streams flowing in and between people, through text, pictures, spoken words and TV commentaries, streams through shared memories, casual relations, witnessed events, touching pasts and futures, cause and effect. Try to see this immense latticework of lakes and flowing streams, see the size and awesome complexity of it. This huge rich environment. This waterway paradise of all information and identities and societies and selves. — Steven Hall

I tend the mobile now
like an injured bird

We text, text, text
our significant words.

I re-read your first,
your second, your third,

look for your small xx,
feeling absurd.

The codes we send
arrive with a broken chord.

I try to picture your hands,
their image is blurred.

Nothing my thumbs press
will ever be heard.


"Text — Carol Ann Duffy

Memorizing Qur'an without studying it renders the text as a Talisman in the hands of its user; in Islam this is forbidden and is treated as a mark of Polytheism. Words convey contextual meanings to man, therefore, God's Word is only allowed to be treated as a Message; once touched by man, she/he is ordered to transport it into her/his mind and not only into her/his brain. That is why Symbols are a mediocre tool for conducting language because they paralyze the brain with their glyphs rather than excite the mind. — Ibrahim Ibrahim

It was not long before the possibly serious translation errors uncovered in the Vulgate threatened to force revision of existing church teachings. Erasmus pointed out some of these in 1516. An excellent example is found in the Vulgate translation of the opening words of Jesus's ministry in Galilee (Matthew 4:17) as: "do penance, for the kingdom of heaven is at hand." This translation creates a direct link between the coming of God's kingdom and the sacrament of penance. Erasmus pointed out that the original Greek text should be translated as: "repent, for the Kingdom of heaven is at hand." Where the Vulgate seemed to refer to an outward practice (the sacrament of penance), Erasmus insisted that the reference was to an inward psychological attitude - that of "being repentant. — Alister E. McGrath

Remember ...
Keystrokes are hammer taps. Get words on paper. Don't worry about connections, character or plot. Work for an hour. Promise yourself an hour. Do nothing else but move your fingers. Make coarse shapes. Follow any emotion that pops up but never impose emotion, never fake it, and don't make up your mind or your heart ahead of time. Understand you don't know what you're doing. That's why you're here. Rough it out. Anything goes. You can decide later what any piece of text looks like, what it might mean. Don't stop. Don't question. Don't quit. Don't stop to read what you wrote. Move your fingers. You mind will have no other option but to keep up. Remember that writer's block is merely the cold marble waiting for the chisel to heat up. — Bob Thurber

Scripture As Text: Learning What God Reveals," was an orientation in the personal, revelatory nature of Holy Scripture. All these words are person-to-person - the three-personed God addressing himself personally to us in our full capacity as persons-in-relationship. The Holy Trinity provided a way of understanding the irreducible personal and relational nature of this text, and affirmed that the only reading congruent with what is written is also personal and participatory.
In this chapter, "Scripture As Form: Following the Way of Jesus," I want to observe the way in which these personal words arrive in our lives and connect the Jesus way with the way in which we now live them. I want to attend to the way that the form of Scripture is also the form of our lives. — Eugene H. Peterson

You alone in Europe are not ancient oh Christianity
The most modern European is you Pope Pius X
And you whom the windows observe shame keeps you
From entering a church and confessing this morning
You read the prospectuses the catalogues the billboards that sing aloud
That's the poetry this morning and for the prose there are the newspapers
There are the 25 centime serials full of murder mysteries
Portraits of great men and a thousand different headlines
("Zone") — Guillaume Apollinaire

At last either Betsie or I would open the Bible. Because only the Hollanders could understand the Dutch text, we would translate aloud in German. And then we would hear the life-giving words passed back along the aisles in French, Polish, Russian, Czech, back into Dutch. They were little previews of heaven, these evenings beneath the lightbulb. — Corrie Ten Boom

I work in my study, taking the collections of words that people send me and making small adjustments to them, changing something here and there, checking everything is in order and putting a part of myself into the text by introducing just a little bit of difference. ("Substitutions") — Michael Marshall Smith

The church must acclimate to a changing world, or she will destine herself to irrelevance or even extinction ... One of those dramatic changes in our environment is the shift from words to images. To do church in a way that is entirely text driven is the kiss of death. — Erwin McManus

The only distinguishing characteristic of a literature professor at the millennium was that he or she wrote about other people's writing. Apart from that, the writing he wrote about didn't even need to be literature, or writing about literature, or even writing about writing about literature. He needed theory...In the unflickering glare, at the center of a severe perspective, Nelson suddenly felt the visceral truth of the world as text; he apperceived the fundamentally linguistic nature of reality. Everything was text, at every level of existence, all the way up from quarks to queer theory. Words arranged in lines; lines arrayed on pages; pages pressed together, bound, and trimmed in books; books arranged cover to cover along a shelf like the words in a line of text; shelves stacked one atop the other like lines of text on a page; rows of shelves pressed together, with just the barest passage for the reader, like the pages of a book. — James Hynes

Some people study a text very deeply. The people are my text. I study their words and what their words sound like, over and over again. — Anna Deavere Smith

I have always maintained that translation is essentially the closest reading one can possibly give a text. The translator cannot ignore "lesser" words, but must consider every jot and tittle. — Gregory Rabassa

Usually in theater, the visual repeats the verbal. The visual dwindles into decoration. But I think with my eyes. For me, the visual is not an afterthought, not an illustration of the text. If it says the same thing as the words, why look? The visual must be so compelling that a deaf man would sit though the performance fascinated. — Robert Wilson

Fifield's connection to his congregation extended to their views on religion and politics too. In the apt words of one observer, Fifield was "one of the most theologically liberal and at the same time politically conservative ministers" of his era. He had no patience for fundamentalists who insisted upon a literal reading of Scripture. "The men who chronicled and canonized the Bible were subject to human error and limitation," he believed, and therefore the text needed to be sifted and interpreted. Reading the holy book should be "like eating fish - we take the bones out to enjoy the meat. All parts are not of equal value." Accordingly, Fifield dismissed the many passages in the New Testament about wealth and poverty and instead worked tirelessly to reconcile Christianity and capitalism. In his view, both systems rested on a basic belief that individuals would succeed or fail on their own merit. — Kevin M. Kruse

A novel is designed to stimulate our minds and imagination without any visuals, other than the constructed text."

"An author's job is to breath life into words for the reader. That is the core essence of what we do. — Efthalia

To call for close reading, in fact, is to do more than insist on due attentiveness to the text. It inescapably suggests an attention to this rather than to something else: to the 'words on the page' rather than to the contexts which produced and surround them. It implies a limiting as well as a focusing of concern - a limiting badly needed by literary talk which would ramble comfortably from the texture of Tennyson's language to the length of his beard. But in dispelling such anecdotal irrelevancies, 'close reading' also held at bay a good deal else: it encouraged the illusion that any piece of language, 'literary' or not, can be adequately studied or even understood in isolation. It was the beginnings of a 'reification' of the literary work, the treatment of it as an object in itself, which was to be triumphantly consummated in the American New Criticism. — Terry Eagleton

Do Muslims believe the Quran to be God's "literal" word? Yes and No. Yes, in the sense that the Quran is seen as representing the exact words of the original text as revealed by God. And No, in the sense that the Quran is not a book that is devoid of metaphor and allegory. What would be more correct then is to say that Muslims believe the Quran to be "God's immutable word" because they believe it to be unchanging over time and unable to be changed. — Anonymous

True translation is not a binary affair between two languages but a triangular affair. The third point of the triangle being what lay behind the words of the original text before it was written. True translation demands a return to the pre-verbal. One reads and rereads the words of the original text in order to penetrate through them to reach, to touch, the vision or experience that prompted them. One then gathers up what one has found there and takes this quivering almost wordless "thing" and places it behind the language it needs to be translated into. And now the principal task is to persuade the host language to take in and welcome the "thing" that is waiting to be articulated. — John Berger

Wagamama. Text messaging aficionados might like to note that this is one of the most satisfying words you can possibly type. — Danny Wallace

Once the words of a book appear onscreen, they are no longer simply themselves; they have become a part of something else. They now occupy the same space, not only as every other digital text, but as every other medium, too. — Tom Chatfield

The pathfinders of modern thought did not derive what is good from the law ... Their role in history was not that of adapting their words and actions to the text of old documents or generally accepted doctrines: they themselves created the documents and brought about the acceptance of their doctrines. — Max Horkheimer

As he reads, his eyes graze each poem's lines like a needle over an LP's grooves, reassembling them into uniform arcades. What he is looking for is key: a gap in the book's mask, a loose thread to unravel its veil. He tries tricks to find new openings- reading sideways, reading upside down, reading white space instead of text- but the words always close ranks like tiles in a mosaic, like crooks in a lineup, and mock him with their blithe expressions. — Martin Seay

If we don't understand how metaphor works we will misunderstand most of what we read in the Bible. No matter how carefully we parse our Hebrew and Greek sentences, no matter how precisely we use our dictionaries and trace our etymologies, no matter how exactly we define the words on the page, if we do not appreciate the way a metaphor works we will never comprehend the meaning of the text. — Eugene H. Peterson

Literally minutes before the Senate cast its vote, the administration sought to add the words 'in the United States and' after 'appropriate force' in the agreed-upon text. This last-minute change would have given the president broad authority to exercise expansive powers not just overseas-where we all understood he wanted authority to act-but right here in the United States, potentially against American citizens. I could see no justification for Congress to accede to this extraordinary request for additional authority. I refused. — Tom Daschle

I record the events of my life, filling up one notebook after another. Maybe I'm not getting the details exactly right, but it doesn't matter. The strict facts hold no currency here. What counts is the saliva I just spat on this very sheet of paper. The thick gob slowly dissolves a small circle in the text and turns the words translucent. The ink starts to bleed. The fibers loosen. If you run your fingers along this paragraph, you'll find the site where I stabbed my thumb straight through the page. There is an entire world in that hole. — Jeff Jackson

This book is an enhanced reprint. the original story was written in 1990. I wanted to bring it up to speed in technology and in the way men and women relate to each other in the 21st century. The book is almost 6000 words longer and the characters are much more creatures of this time now. I think the book has an edge that was not present in the orginal book, Silent Enchantment. As far as I know, treating a reprint in this way is new. That is why the book is clearly marked as an enhanced reprint and there is a letter in the front of the text to explain what was done and why. — Lacey Dancer

Shiftrunes?" "Letters that are pronounced one way on their first occurrence in a text, another on their second, another on their third, and so on in a fixed sequence. It gives the poet an interesting technique to exploit: she can have pairs of words that alliterate visually but not phonetically as well as pairs that alliterate phonetically but not visually. And she can play the two off against each other. — Samuel R. Delany

It was a clear autumn day Sunday in 1876; Vincent van Gogh, twenty-three years old, left the English boarding school where he was teaching to give a sermon at a small Methodist church in Richmond, a humble London suburb. Standing in front of the lectern, he felt like a lost soul emerging from the dark cave in which he had been buried.

The sermon, which survives among Vincent's collected letters, reiterates universal ideas and is not an outstanding example of the art of homiletics. Nevertheless, his words grew out of his tormented life and had an intense emotional charge. Preaching to the congregation, he was also preaching to himself -- and of himself. The images he used were the same as those that were to be given powerful expression in his pictures.

The text chosen for the sermon was Psalm 119:19, 'I am a stranger on the earth, hide not Thy commandments from me.' — Albert J. Lubin

The framers of the constitution employed words in their natural sense; and, where they are plain and clear, resort to collateral aids to interpretation is unnecessary, and cannot be indulged in to narrow or enlarge the text; but where there is ambiguity or doubt, or where two views may well be entertained, contemporaneous and subsequent practical construction is entitled to the greatest weight. — Melville Fuller

Here's one way that we try to actively and immediately bring in kindness in our meetings and camps: we ask our girls to stop before they speak and reevaluate what they're going to say based on this acronym:


True
Honest
Important
Necessary
Kind


Is what they're out to say True? Is it Honest? Is it Important? Necessary Kind?
We ask the to T.H.I.N.K. before they speak text, or type, and try to incorporate it into their daily lives -- especially within their interactions with their friends and classmates -- as much as possible. It's a choice girls can make: Do they want to encourage others with their words, or bring others down?

You might think this won't resonate with your middle school girl, but I promise that it works. It's not about self-editing or asking her not to speak her truth, of course; it's about thinking of others too. — Haley Kilpatrick

Beowulf stands out as a poem which makes extensive use of this kind of figurative language. There are over one thousand compounds in the poem, totalling one-third of all the words in the text. Many of these compounds are kennings. The word 'to ken' is still used in many Scottish and Northern English dialects, meaning 'to know'. Such language is a way of knowing and of expressing meanings in striking and memorable ways; it has continuities with the kinds of poetic compounding found in nearly all later poetry but especially in the Modernist texts of Gerard Manley Hopkins and James Joyce. — Ronald Carter

A picture story is a sequence of images combined with text in such a way that pictures and words reinforce each other.
They produce a planned, organized combination giving detailed account of an event, personality or aspect of life. — Arthur Rothstein

There's a lovely Hasidic story of a rabbi who always told his people that if they studied the Torah, it would put Scripture on their hearts. One of them asked, "Why on our hearts, and not in them?" The rabbi answered, "Only God can put Scripture inside. But reading sacred text can put it on your heart, and then when your hearts break, the holy words will fall inside. — Anne Lamott

That small word "Force," they make a barber's block,
Ready to put on
Meanings most strange and various, fit to shock
Pupils of Newton ...
The phrases of last century in this
Linger to play tricks
Vis viva and Vis Mortua and Vis Acceleratrix:
Those long-nebbed words that to our text books still
Cling by their titles,
And from them creep, as entozoa will,
Into our vitals.
But see! Tait writes in lucid symbols clear
One small equation;
And Force becomes of Energy a mere
Space-variation. — James Clerk Maxwell

Conversation lets you be an artist every time you open your mouth--or shut it. As Robert Louis Stevenson said, "The most important art is to omit"; the key to being a master conversationalist is to listen at least as much as you talk. Just as the other arts include pauses in a dramatic play, white margins around printed text, and space between a singer's phrases, conversation is about silences as well as about words. — Margaret Shepherd

For me, each book is kind of like a silent film. If you were to remove the words and just look at the pictures, you should be able to tell what the story is about without having to read a word of text. That's what I think I brought from doing artwork for film to doing artwork for books. — Kadir Nelson

I am Become Text Message. Destroyer Of Words. — Dean Cavanagh

Translation is entirely mysterious. Increasingly I have felt that the art of writing is itself translating, or more like translating than it is like anything else. What is the other text, the original? I have no answer. I suppose it is the source, the deep sea where ideas swim, and one catches them in nets of words and swings them shining into the boat ... where in this metaphor they die and get canned and eaten in sandwiches. — Ursula K. Le Guin

Was it not Democritus of your own country who said, 'Well-ordered behavior consists in obedience to the law, the ruler, and the woman wiser than oneself'? Although in the text I read the words were written as, 'the man wiser,' but I can only suppose the scribe wrote the word wrong or meant it to be 'Elder. — Kate Elliott

My phone buzzes and I fish it from my pocket, expecting Tacey or maybe my parents checking in to make sure I'm okay. But it's an unfamiliar number.
Do you blame yourself?
I read the words once. Twice. I see Stella's locker door swinging open and I hear a train whistle, but neither are happening. It's all in my head. I force myself to take a breath and head outside. This text is a wrong number. It's not for me, and it's definitely not about Stella.
And then another message.
Do you wish you'd done something? What if you still could?
I text back quickly.
I think you have the wrong number.
I don't have the wrong number, Piper. — Natalie D. Richards