All right, Watson. Don’t look so scared,” he muttered in a very weak voice. “It’s not as bad as it seems.” “Thank God for that!” “I’m a bit of a single-stick expert, as you know. I took most of them on my guard. It was the second man that was too much for me.” “What can I do, Holmes? Of course, it was that damned fellow who set them on. I’ll go and thrash the hide off him if you give the word.” “Good old Watson!(...)
It's a different thing to just be a voice. It's liberating, on one hand, because you get to show up in sweatpants and with Doritos on your fingers, but on the other hand, it's limiting because it's just your voice.
I tend to enunciate pretty well. It's always seemed that my voice is one of those voices that people can recognize pretty easily - which has been a bit of a drawback for some characters because you're supposed to lose yourself in the character, but sometimes people look at a character and go "Oh, it's 'Weird Al.'"
There are voices crying what must be done, a hundred, a thousand voices. But what do they help if one seeks for counsel, for one cries this, and one cries that, and another cries something that is neither this nor that.
Neither of us knows what the public will think. There's no doubt in my mind that I have found out how to begin (at forty) to say something in my own voice; and that interests me so that I feel I can go ahead without praise.
What I discerned in the U.S. was a convergence of poetic voices coming from many different rents in the social fabric, many cultures, many tributaries, which, together, make up the American poetry of the late twentieth century.
He could not feel her near him in the darkness nor hear her voice touch his ear. He waited for some minutes listening. He could hear nothing: the night was perfectly silent. He listened again: perfectly silent. He felt that he was alone.
It's not necessarily a large number of people that affect the culture. You don't count the number of influential voices, you weigh them. A hundred people can affect the culture.