A Quote by Ameen Rihani
Old Arabic books, printed in Bulaq, generally have a broad margin wherein a separate work, independent of the text, adds gloom to the page.
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If I'm very drunk, I can improvise. But generally speaking, no. Generally speaking, almost all of my work is material that was first done on the printed page. And the shorter ones that you might call poems, I had a stretch from '79, '80, for five or six years, where I wrote a lot of poetry as such. Simply because I was asked to.
There are books in which the footnotes, or the comments scrawled by some reader's hand in the margin, are more interesting than the text. The world is one of those books.
The printed page transcends space and time. The printed page, the infinity of the book, must be transcended.
You shall see them on a beautiful quarto page where a neat rivulet of text shall meander through a meadow of margin.
Our amended Constitution is the lodestar for our aspirations. Like every text worth reading, it is not crystalline. The phrasing is broad and the limitations of its provisions are not clearly marked. Its majestic generalities and ennobling pronouncements are both luminous and obscure. This ambiguity of course calls forth interpretation, the interaction of reader and text. The encounter with the Constitutional text has been, in many senses, my life's work.
I generally disagree with most of the very high margin opportunities. Why? Because it's a business strategy tradeoff: the lower the margin you take, the faster you grow.
WIDE, the margin between carte blanche and the white page. Nevertheless it is not in the margin that you can find me, but in the yet whiter one that separates the word-strewn sheet from the transparent, the written page from the one to be written in the infinite space where the eye turns back to the eye, and the hand to the pen, where all we write is erased, even as you write it. For the book imperceptibly takes shape within the book we will never finish. There is my desert.
School was a source of great suffering to me, but once I learned to read, I disappeared into books, where I was a happy visitor to all the worlds that sprang full-blown from the printed page.
Everything stated or expressed by man is a note in the margin of a completely erased text. From what's in the note we can extract the gist of what must have been in the text, but there's always a doubt, and the possible meanings are many.
My goal is to create a book where the entire book-text, pictures, shape of book-work together to create the theme. The placement of images and text on the page is crucial for me.
There were times when I could not afford to sacrifice the bloom of the present moment to any work, whether of the head or hand. I love a broad margin to my life.
The writing in mathematics text is not only laconic to a fault; it is cold, monotonous, dry, dull, and even ungrammatical... The books are not only printed by machines; they are written by machines.
I am a little old fashioned, and I love to have my scripts printed out. There is something magical about feeling the paper, making notes and page marks.
I think one of the blessings that I've had in watching, you know, films be made now from four of my books is to realize that it's a separate thing. It's a separate work.
Looking at the poems of John Gray when I saw the tiniest rivulet of text meandering through the very largest meadow of margin, I suggested to Oscar Wilde that he should go a step further than these minor poets; he should publish a book all margin; full of beautiful, unwritten thoughts.
Pomegranate molasses is ubiquitous in Arabic cooking: it's sweet, sour and adds depth.
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