We could get together all over the world, all races, hold hands together, and hum to death, and try to move the moon where the sun is, move the sun where the moon is at, and send a little piece of a star down there and burn all our asses up. We could get into the science, and make bombs and all that stuff, but you still ain't gonna hit the supreme force or the power that put all this into motion.
Awareness means you come with an inner light, you move fully alert. Each step is taken in awareness - the walking, the coming, the sitting - everything is done in full awareness.
The language itself is what gets me interested in writing. It's weird to me that words exist. Never a dull moment with words. They're a layer between our minds and the physical reality around us, obviously, but the layer seems like it's always in flux, like an asteroid belt, constantly moving.
There are times when I am directing, and there are a couple of moments I didn't get the way I wanted, but I know I still have other angles to shoot and I have to be done by noon; I move on.
Pity is for this life, pity is the worm inside the meat, pity is the meat, pity is the shaking pencil, pity is the shaking voice-- not enough money, not enough love--pity for all of us--it is our grace, walking down the ramp or on the moving sidewalk, sitting in a chair, reading the paper, pity, turning a leaf to the light, arranging a thorn.
This is a different - a different era, a different war, Stretch. So what we're - people are changing phone numbers and phone calls, and they're moving quick. And we've got to be able to detect and prevent. I keep saying that, but this is a - it requires quick action. . . .
People who walk across dark bridges, past saints, with dim, small lights. Clouds which move across gray skies past churches with towers darkened in the dusk. One who leans against granite railing gazing into the evening waters, His hands resting on old stones.
Faith, indeed, has up to the present not been able to move real mountains, although I do not know who assumed that it could. But it can put mountains where there are none.
I hated the sight on TV of big, clumsy, lumbering heavyweights plodding, stalking each other like two Frankenstein monsters, clinging, slugging toe to toe. I knew I could do it better ... circle, dance, shuffle, hit and move ... make an art out of it.
I have every sympathy for writers. It's a mystery to me what they do. I can edit. I can cross out and say, 'I'm not saying that' or, 'How about we move this to here? Wouldn't that make that bit of the story better?' But where any of it comes from is beyond me. I will never write a play or a novel.
Knowledge about yourself binds, weighs, ties you down; there is no freedom to move, and you act and move within the limits of thatknowledge. Learning about yourself is never the same as accumulating knowledge about yourself. Learning is active present and knowledge is the past; if you are learning to accumulate, it ceases to be learning; knowledge is static, more can be added to it or taken away from it, but learning is active, nothing can be added or taken away from it for there is no accumulation at any time.
I began as a dramatist in the theater, so I'm always thinking about how a story moves, what it looks like, how to engage the senses, how dialogue sounds, what feels authentic and sounds real, what's funny, how to build distinctive and original characters - all the aspects of playwriting, scene-building, the architecture of dramatizing.
The truth is you never can leave home. You take it with you everywhere you go. It's under your skin. It moves the tongue or slows it, colors the thinking, impedes upon the logic.
If anyone should want to know my name, I am called Leah. And I spend all my time weaving garlands of flowers with my fair hands, t o please me when I stand before the mirror; my sister Rachel sits all the day long before her own, and never moves away. She loves to contemplate her lovely eyes; I love to use my hands to adorn myself: her joy is in reflection, mine in act.