A Quote by Adelaide Clemens

Generally, I play the kind of ethereal, fragile-on-the-outside-but-hard-and-damaged-on-the-inside type. — © Adelaide Clemens
Generally, I play the kind of ethereal, fragile-on-the-outside-but-hard-and-damaged-on-the-inside type.
But now, I think I have found a corner, a groove of what kind of stories I want to be part of and what type of characters I want to play. I have a soft corner for damaged people or those who are not supposedly quintessentially perfect but have the instincts to be protective.
Everyone thinks I'm ethereal. But I'm not like that, you know. I'm not ethereal. Well, I might have a little bit of that quality to me, that 'old soul' thing, but I'm not ethereal.
I thought I was prepared for England but I was not prepared for things outside football, my private life. I am not very proud that fans could probably name three of my former girlfriends. I don't think it damaged my football results. But my image outside football it damaged, yes.
To listen is to be vulnerable. You allow something outside your body to come inside. To be open and impressionable, to hear everything, is dangerous. You can be damaged all too easily.
I've tried to bring the mentality of the outside linebacker to the inside and the rough, tough style of an inside linebacker to the outside. The middle linebacker always has been known as kind of a big plugger. Outside guys are known to be able to run. I just try to make big plays wherever I am.
I wanted to take a damaged individual in a damaged society with damaged relationships between nations and take a look at how this individual survives amongst them, and that for me as a writer is the connection that you needed to get inside the skin of the main character and wonder how he's going to cope with all this.
Twenty years ago, when I started writing, I didn't define myself as an African-American writer. And then you write books and you're focused on what's inside your books, and that kind of term is generally used on the outside, by the critical establishment.
We have no longer an outside and an inside as two separate things. Now the outside may come inside and the inside may and does go outside. They are of each other. Form and function thus become one in design and execution if the nature of materials and method and purpose are all in unison.
I see myself used in terms of reading mismatches. If it's small, go inside. If it's big, come outside. And if it's in between, then work him, make him think you're going outside, go back inside. Just play chess.
Things outside you are projections of what's inside you, and what's inside you is a projection of what's outside. So when you step into the labyrinth outside you, at the same time you're stepping into the labyrinth inside.
Metallica is a very complicated, fragile thing. On the outside, it's all metal, but on the inside it's very delicate.
I have a real pet peeve for women who play damaged characters but don't look damaged.
There's a strange thing goes on inside a bubble. It's hard to describe. People who are in it can't see outside of it, don't believe there is an outside.
Most men act so tough and strong on the outside because on the inside, we are scared, weak, and fragile. Men, not women, are the weaker sex.
I think what you have inside reflects very much in your face, in your expression. If you can find a kind of equilibrium in life, you never really get old, because you have that kind of ingenuity and innocence inside that gives you that brightness and that glint in your eye that generally, getting older, you lose.
If your body is damaged, wounded, it can be fixed, but if inside, mentally, you are wounded you cannot fix it, it's hard.
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