A Quote by Barry Unsworth

But whatever the ramifications, whatever turns the path takes, the beginning is always there, in a particular moment, a particular point of access. — © Barry Unsworth
But whatever the ramifications, whatever turns the path takes, the beginning is always there, in a particular moment, a particular point of access.
Whatever the particular call is, the particular sacrifice God asks you to make, the particular cross He wishes you to embrace, whatever the particular path He wants you to tread, will you rise up, and say in your heart, "Yes, Lord, I accept it; I submit, I yield, I pledge myself to walk in that path, and to follow that Voice, and to trust Thee with the consequences"? Oh! but you say, "I don't know what He will want next." No, we none of us know that, but we know we shall be safe in His hands.
Films, fiction, can encompass a whole global vision on a particular subject with any story, whatever it is. You can play the story in whatever country with whatever language in whatever style you want to tell the story in.
Gardeners (or just plain simple writers who write about the garden) always have something they like intensely and in particular, right at the moment you engage them in the reality of the borders they cultivate, the space in the garden they occupy at any moment, they like in particular this, or they like in particular that.
I always tell young journalists to leverage what you have. If you have a particular language skill or access to a particular place or culture in a way that others don't, that's your advantage.
'Moby-Dick' has a remarkable way of resonating with whatever is going on in the world at that particular moment.
There are constraints on what counts as "Reformed." It's more than a name or a label. It's about belonging to a particular theological stream or tradition, which is shaped in important respects by particular thinkers and their work, particular arguments and ideas, a particular community (especially, particular church communities, denominations, and so on), particular liturgies or ways of worshipping and living out the Christian life, and particular confessions that inform the practices of these communities.
I most resemble Benjamin Button. I evolve. I attach myself to the heartbeat of whatever is going on at that particular time, or I just chart a new path.
The structural notions to me always have to be worked out very carefully in the script stage. Whatever a particular structure is. Whether it's chronological or non-chronological. To me that's always about what point of view are we trying to address in the film?
People believe that when they say "yes" to this moment, things won't change anymore. They're afraid that if they accept what is, whatever form this moment takes, they're going to be stuck forever in this moment that they don't like: this job or relationship or whatever situation they're in that they don't like. But this is not true.
It's no wonder we don't defend the land where we live. We don't live here. We live in television programs and movies and books and with celebrities and in heaven and by rules and laws and abstractions created by people far away and we live anywhere and everywhere except in our particular bodies on this particular land at this particular moment in these particular circumstances.
It's very difficult, historically, to define what an elite is. But whatever it is, people are very angry at that idea, I think, not so much because of wealth or privilege as much as attitude that the populous masses, if I could use that overused term, feel that a particular government or cultural group is not subject to the ramifications of their own ideology.
Certainly we're always rooting for our particular contingent moment to be a great one. Pain-free. But the more expansive vision has to include the idea that, even for us, sometimes our particular contingent moment is going to be horrific.
In life, things do not always stay the same. There are certain alchemies that marry together at particular moments in particular places with particular people.
Frequently these loaded images or objects are used by me without my attaching a particular significance to them. In other words, what I'm doing is letting whatever power, whatever affect they have, work on its own.
We always have a basic structure for a piece of music, but we encourage the musicians to elaborate on whatever they feel at that particular moment. There's a definite conversation happening on stage. I think it is very important for us as creative musicians, to instantaneously describe any energy that is visible at that time.
I'm always just gonna do whatever I want. I don't feel any pressure to appeal to anyone in particular.
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