A Quote by Joan Didion

But the fact of it was that I liked it out there, a ruin devoid of human vanities, clean of human illusions, an empty place reclaimed by the weather where a woman plays an organ to stop the wind's whining and an old man plays ball with a dog named Duke. I could tell you that I came back because I had promises to keep, but maybe it was because nobody asked me to stay.
I did plays because I liked plays. I studied psychology because I was fascinated by the subject, and I hope to keep doing films because I love the medium.
In fact, I might be confident for the human race because of what the human race has given me. When I was in the street and bars, people always came up to me and said, "Don't stop, keep going."
I never could keep a promise. I do not blame myself for this weakness, because the fault must lie in my physical organization. It is likely that such a very liberal amount of space was given to the organ which enables me to make promises that the organ which should enable me to keep them was crowded out. But I grieve not. I like no half-way things. I had rather have one faculty nobly developed than two faculties of mere ordinary capacity.
There's a place in you that you must keep inviolate. You must keep it pristine. Clean. So that nobody has a right to curse you or treat you badly. Nobody. No mother, father, no wife, no husband, no­­­-nobody. You have to have a place where you say: 'Stop it. Back up. Don't you know I'm a child of God?
In all human love it must be realized that every man promises a woman, and every woman promises a man that which only God alone can give, namely, perfect happiness. One of the reasons why so many marriages are shipwrecked is because as the young couple leave the altar, they fail to realize that human feelings tire and the enthusiasm of the honeymoon is not the same as the more solid happiness of enduring human love. One of the greatest trials of marriage is the absence of solitude. In the first moments of human love, one does not see the little hidden deformities which later on appear.
This religion teaches that 6,000 years ago God made the first man out of dust - not even mud - and the first woman out of a bone; that God cursed the whole human race because a snake made the woman eat an apple; that God had a son by another man's wife, and that he had this son murdered in order to keep himself from sending all the human race to hell.
I've had enormous luck and enormous pleasure in working in such forms as movies and plays that I loved when I was a kid and I just - because I could always write dialogue, because I always had a sense of how people spoke. And because I had a strong narrative sense; growing up and loving stories, loving novels, I just seem to know how to tell a story and I read a lot, I went to a lot of movies, I went to a lot of plays, and it rubbed off on me. And that's all. It just rubbed off on me.
I'd like to be in a position to have plays run through me and share the ball, make plays. Still score, obviously, but make plays, as well.
Truth was funny, because it was an insistent thing, maybe as powerful and insistent as some force of nature, the push of water or wind. You could keep it out only so long, but it had its own will and its own needs, and maybe you could keep it at bay with lies, but not for long, not for always.
My mother gave me an Oscar de la Renta Gone with the Wind ballgown dress. I've never had a place to wear it out to because it's so old-fashioned fancy and beautiful, so I need to find a place to wear it but if I don't, I'll still keep it forever.
Manhattan was a no-man's land, empty, an unofficial demilitarized zone between Partials and the human survivors. No one was supposed to be here, not because it was forbidden but because it was dangerous. If something happened to you out here, either side could get you, and neither side could protect you.
I think one of the reasons I've had success in hip-hop is that I can bring out vulnerability in people who are generally seen as tough guys. To me, when a hip-hop musician always plays tough, I find it annoying because I know they're not really like that - there's something deeper and vulnerable. There has to be, because they're human beings.
You had every right to be. He raised his eyes to look at her and she was suddenly and strangely reminded of being four years old at the beach, crying when the wind came up and blew away the castle she had made. Her mother had told her she could make another one if she liked, but it hadn't stopped her crying because what she had thought was permanent was not permanent after all, but only made out of sand that vanished at the touch of wind and water.
With the quarterback position, because you're touching the ball every single snap, you want to make a play and you just have to guard against that. It's about making the plays that come to you, not necessarily chasing after plays.
'Waiting for Godot,' when it first came out in 1950, was a very different sort of play to the plays that were in the West End at that time in London, because most of those plays were what we call drawing-room comedies.
It's like, say, if you were a dog. You notice that you're getting old, and you look at your human and you think, 'Why isn't this human getting old?'... But now we're the human looking out and imagining a different human.
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