Night is a dead monotonous period under a roof; but in the open world it passes lightly, with its stars and dews and perfumes, and the hours are marked by changes in the face of Nature. What seems a kind of temporal death to people choked between walls and curtains, is only a light and living slumber to the man who sleeps afield.
If there's a gun on the wall in act one, scene one, you must fire the gun by act three, scene two. If you fire a gun in act three, scene two, you must see the gun on the wall in act one, scene one.
I consider that a man's brain originally is like a little empty attic, and you have to stock it with such furniture as you choose. [...] It is a mistake to think that that little room has elastic walls and can distend to any extent. [...] It is of the highest importance, therefore, not to have useless facts elbowing out the useful ones.
Flower in the crannied wall,
I pluck you out of the crannies,
I hold you here, root and all, in my hand,
Little flower-but if I could understand
What you are, root and all, all in all,
I should know what God and man is.
Especially like right now, I'm not shooting a show so you get to act. You get to do that stuff, kind of treat everyone as 'All right, throw the paint against the wall and see what I can do with this and what people say.' I think it's a great mental workout because you have to ready something, learn something fast. It's good to stay on your toes and keep sharp if you're auditioning.
I hate university towns and university people, who are the same everywhere, with pregnant wives, sprawling children, many books and hideous pictures on the walls ... Oxford is very pretty, but I don't like to be dead.
Real success and accomplishment, at whatever it is you are passionate about, requires real work. Real sacrifice. Real disappointment. Real failure. And it requires the ability to scrape your sorry ass up off the floor, stumble to your feet, wipe the rivulets of watery drool from your face, and do it again, like an obstinate toddler running against the wall with his head in a bucket.
We stand against fate, as children stand up against the wall in their father's house, and notch their height from year to year. But when the boy grows to a man, and is master of the house, he pulls down that wall and builds it new and bigger.
One line typed twenty years ago
can be blazed on a wall in spraypaint
to glorify art as detachment
or torture of those we
did not love but also
did not want to kill.
In his or her life, each person can take one of two attitudes: to build or to plant. Builders may take years over their tasks, but one day they will finish what they are doing. Then they will stop, hemmed in by their own walls. Life becomes meaningless once the building is finished. Those who plant suffer the storms and the seasons and rarely rest. Unlike a building, a garden never stops growing. And by its constant demands on the gardner's attentions, it makes of the gardener's life a great adventure.
.... Anon from the castle walls The crescent banner falls, And the crowd beholds instead, Like a portent in the sky, Iskander's banner fly, The Black Eagle with double head. And shouts ascend on high .....'' Long live Scanderbeg.
Wind and storm colored July. Also, in the middle, cadaverous, awful, lay the grey puddle in the courtyard, when holding an envelope in my hand, I carried a message. I came to the puddle. I could not cross it. Identity failed me. We are nothing, I said, and fell. I was blown like a feather. I was wafted down tunnels. Then very gingerly, I pushed my foot across. I laid my hand against a brick wall. I returned very painfully, drawing myself back into my body over the grey, cadaverous space of the puddle. This is life then to which I am committed.
The castled crag of Drachenfels, Frowns o'er the wide and winding Rhine, Whose breast of waters broadly swells Between the banks which bear the vine, And hills all rich with blossom'd trees, And fields which promise corn and wine, And scatter'd cities crowning these, Whose far white walls along them shine.
To take a few nouns, and a few pronouns, and adverbs and adjectives, and put them together, ball them up, and throw them against the wall to make them bounce. That's what Norman Mailer did. That's what James Baldwin did, and Joan Didion did, and that's what I do - that's what I mean to do.