A Quote by Annie Dillard

The mind of the writer does indeed do something before it dies, and so does its owner, but I would be hard put to call it living. — © Annie Dillard
The mind of the writer does indeed do something before it dies, and so does its owner, but I would be hard put to call it living.
If I were a first rate writer, I wouldn't mind a bit. What does depress me is this: it is so desperately hard and so obsessive and so lonely to write that, in return for all this work, one would like a little self satisfaction. And that is never going to come, for the simple reason that I do not deserve it. I cannot be a good enough writer. You see? I call it grim. But the future looks awfully clear to me.
Because the meaning of a story does not lie on its surface, visible and self-defining, does not mean that meaning does not exist. Indeed, the ambiguity of meaning, its inner private quality, may well be part of the writer's vision.
If the body dies, it does no harm to the mind, but if the mind dies, one can no longer act as a man even though the body survives.
He who dies before he dies does not die when he dies.
When people question me about whether something is hip-hop, I ask them, 'Does it sound hard? Does it hit home? Is it raw and real?' If it is, I did my job. And you can call it whatever you want.
He who does not travel, who does not read, who does not listen to music, who does not find grace in himself, she who does not find grace in herself, dies slowly.
You can call it tathata, suchness. 'Suchness' is a Buddhist way of expressing that there is something in you which always remains in its intrinsic nature, never changing. It always remains in its selfsame essence, eternally so. That is your real nature. That which changes is not you, that is mind. That which does not change in you is buddha-mind. You can call it no-mind, you can call it samadhi, satori. It depends upon you; you can give it whatsoever name you want. You can call it christ-consciousness.
Before I became a film major, I was very heavily into social science, I had done a lot of sociology, anthropology, and I was playing in what I call social psychology, which is sort of an offshoot of anthropology/sociology - looking at a culture as a living organism, why it does what it does.
It does matter where you go to church, it does matter where you worship, it does matter where you lift your head, it does matter where you cry out to God. There is something about the atmosphere. I might be lame, but put me in the atmosphere. I may be drunk, but put me in the atmosphere. I may be weak, but put me in the atmosphere.
The romantics would call this a love story, the cynics would call it a tragedy. In my mind it’s a little bit of both, and no matter how you choose to view it in the end, it does not change the fact that it involves a great deal of my life and the path I’ve chosen to follow.
He doesn't mind if he dies... indeed, he would like to die; but yet he fears to fall. He would welcome a long sleep; but not at the price of falling to it.
This is what an excellent teacher does; he does not follow his disciples' fancy everywhere, but leads them to his own mind, and pulls up the thorns, and then puts the seed in, and does not answer at once in all cases to the questions put to him.
If he does not plant the field that was given over to him as a garden, if it be arable land, the gardener shall pay the owner the produce of the field for the years that he let it lie fallow, according to the product of neighboring fields, put the field in arable condition and return it to its owner.
I care about actors, and I understand them in a very personal way. I'm not saying every writer has to do that, but in my case, it's been helpful. I can put myself into the scene and think, 'What would it be like to act this?' Any writer who's really good probably does that to some extent.
He who dies before many witnesses always does so with courage.
Poker is really about reading people. What happens when you bluff? What does it look like when the other guy bluffs? Does he look right, does he look left? Under what circumstances does he fold or call?
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