A Quote by Bill Barich
A good writer refuses to be socialized. He insists on his own version of things, his own consciousness. And by doing so he draws the reader's eye from its usual groove into a new way of seeing things.
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Everyone his own cinematographer. His own stream-of-consciousness e-mail poet. His own nightclub DJ. His own political columnist. His own biographer of his top-10 friends!
A good teacher always refuses to have disciples! Let everyone goes his own way, in his own path instead of following others! If the direction is correct, there will be a meeting in the same place!
Mourinho is his own man, he has his own way of doing things and you have to respect that.
The moral duty of the free writer is to begin his work at home: to be a critic of his own community, his own country, his own government, his own culture. The more freedom the writer possesses, the greater the moral obligation to play the role of critic.
Might we not say that every child at play behaves like a creative writer, in that he creates a world of his own, or, rather, rearranges the things of his world in a new way which pleases him?
How my eyes see, perspective, is my key to enter into His gates. I can only do so with thanksgiving. If my inner eye has God seeping up through all things, then can't I give thanks for anything? And if I can give thanks for the good things, the hard things, the absolute everything, I can enter the gates to glory. Living in His presence is fullness of joy- and seeing shows the way in.
And seeing every man is presumed to do all things in order to his own benefit, no man is a fit Arbitrator in his own cause
Shoes divide men into three classes. Some men wear their father's shoes. They make no decisions of their own. Some are unthinkingly shod by the crowd. The strong man is his own cobbler. He insists on making his own choices. He walks in his own shoes.
Each according to his own way of seeing things, seek one goal, that is gratification.
The government of the enlightened king? His achievements blanket the world but appear not to be his own doing. His transforming influence touches the ten thousand things but the people do not depend on him. With him there is no promotion or praise - he lets everything find its own enjoyment. He takes his stand on what cannot be fathomed and wanders where there is nothing at all.
Everyone is acting from his own level of consciousness. This is all we can ask of ourselves or anyone else. However hurtful someone is, he is doing the best he can, given the limits of his consciousness.
There's a contract that I make between myself, the author, and the reader. I have to figure out how to give the reader certain powers of recognition, or his own knowledge, his own feelings, but I provide them, so we're working together.
The analytical writer observes the reader as he is; accordingly, he makes his calculation, sets his machine to make the appropriate effect on him. The synthetic writer constructs and creates his own reader; he does not imagine him as resting and dead, but lively and advancing toward him. He makes that which he had invented gradually take shape before the reader's eyes, or he tempts him to do the inventing for himself. He does not want to make a particular effect on him, but rather enters into a solemn relationship of innermost symphilosophy or sympoetry.
All the fantasy writers I know have a way of dwelling on their own fears and phobias. A writer spends his life being his own psychiatrist.
In a certain sense a writer is 'selected' by his subject - his subject being the consciousness of his own era.
Very often pessimistic people speak against their own desire. They want to undertake some work, and they say, 'I will do this, but I don't think I shall succeed in it.' Thus they hinder themselves in their path. Man does not know that every thought makes an impression on the consciousness and on the rhythm with which the consciousness is working. According to that rhythm that reflection will come true and happen; and a man proves to be his own enemy by his ignorance of these things.
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