A Quote by Aleksandr Solzhenitsyn

When things are too clear, they are no longer interesting. — © Aleksandr Solzhenitsyn
When things are too clear, they are no longer interesting.
Once you clear out from your consciousness things that no longer matter, you're able to make room for other things.
It isn't necessary for a work to have a lot of things to look at, to compare, to analyze one by one, to contemplate. The thing as a whole, its quality whole, is what is interesting. The main things are alone and are more intense, clear and powerful.
Tools get socially interesting after they're no longer technologically interesting.
Too much polishing and you spoil things. There's a limit to the expressibility of ideas. You have a new thought, an interesting one. Then, as you try to perfect it, it ceases to be new and interesting, and loses the freshness with which it first occurred to you. You're spoiling it.
Once you cease to be a master, once you throw off your master's yoke, you are no longer human rubbish, you are a human being, and all the things that adds up to. So, too, with the slaves. Once they are no longer slaves, once they are free, they are no longer noble and exalted; they are just human beings.
There is a culture among academics to be obscure. If you're too clear, you can't be saying anything interesting. The issue isn't word length. The issue is a commitment to speaking in a way an audience can understand.
I think there's a danger of becoming too familiar with things, isn't there? That you kind of, when you're used to seeing the same things every day, you see those things come what may, and you don't see maybe the interesting things just slightly out of view behind them.
We want to do things that are interesting, great storytelling, some of it is gonna be more fun and funny, some of it is more serious and talking about interesting issues that we think are provocative and interesting to us. Kind of on a more political level. But, you know, just things that we find interesting that we think stories that need to be told.
A cliche is like a coin that has been handled too much. Once language has been overly handled, it no longer leaves a clear imprint.
I was drawn to all the wrong things: I liked to drink, I was lazy, I didn't have a god, politics, ideas, ideals. I was settled into nothingness; a kind of non-being, and I accepted it. I didn't make for an interesting person. I didn't want to be interesting, it was too hard. What I really wanted was only a soft, hazy space to live in, and to be left alone.
Paul Riser tells it in an interesting way; he dissects it and tells the structure, you know, 'you don't mention that part here.' But that's what's interesting about it and the people who are absent are interesting too.
Sometimes there's this balance: if you try to clear 10 things you'll probably get lucky and be able to clear most of them, or all of them; try to clear 20 things, in my mind there's gonna be at least one issue, maybe two - and then that's when it starts getting into either re-recording stuff, or you've got to take that song off.
But it was too interesting, too new, too flattering, too deeply comforting to resist, it was a liberation to be in love and say so, and she could only let herself go deeper.
Play difficult and interesting things. If you play boring things, you risk losing your appetite. Saxophone can be tedious with too much of the same.
When I read these books, I no longer felt like I was confined to a very tiny world. I no longer felt housebound and bedbound. Really, I told myself, I was just brainbound. And this was not such a sorry state of affairs. My brain, with a little help from other people's brains, could take me to some pretty interesting places, and create all kinds of wonderful things. Despite its faults, my brain, I decided, was not the worst place in the world to be.
I wrote down all the things I would no longer accept in my life, all the things I would no longer tolerate, and all the things that I aspired to becoming.
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