A Quote by Carlos Fuentes

At 50 I find there is a long line of characters and shapes demanding words just outside my window. — © Carlos Fuentes
At 50 I find there is a long line of characters and shapes demanding words just outside my window.
When I couldn't sign with the UFC, I think my goal of being Number 1 in the world went out the window. There's just no way of doing that at Welterweight without being in the UFC. I could go 50-0, and as long as it's outside the UFC, I'm not going to be Number 1.
All my life I've felt on the outside wherever I am - out of the picture, the conversation, at a distance, as though I were the only one able to hear the sounds or words that other's can't, and deaf to the words that they hear. As if I'm outside the frame, on the other side of a huge, invisible window.
I start out with words, with the idea, the line. Then after I get a line or two, I try to find what melodic line those lines would be suited to. As soon as I find the form I can finish the song in my head.
I find, even though it's raining, I just go outside. I look outside and I'm just so blessed to see it and to experience it, because for such a long time I was just indoors.
There are just long gaps where I can't find a point of insertion, I can't find a good opening line, I can't find a mood that I want to write into. But once I do, once a line falls out of the air, or I get a little inkling of a subject and I recognize that, it's like the sense that a game has started.
I know that shorter messages are better in terms of reply rate. The optimal length is something like 50 characters. Characters, not words.
'Warm Bodies' was a more long-term thing; I had to write the script, who knew if it was every really going to happen, if I'd find the right actors, and so on, so I grabbed '50/50' because I just fell in love with it.
A nursery rhyme shapes your bones and nerves, and it shapes your mind. They are powerful, nursery rhymes, and immensely old, and not toys, even though they are for children." "But they make no sense!" Summer protested "Ah, well," said Ben. "Sometimes sense hides behind walls. You must find a window and stick your head right in before you can see it.
If tone is granted to be subjected to control, why not line also, which has equal emotional significance? And if line, why not shapes and forms? And if shapes and forms, why not allow elision or emphasis of detail? And if all these things are allowed, what becomes of the record of actuality ?... Sunk without a trace!
Sometimes I just start humming something, find a melody I like a lot, and if it sticks around for a couple days, a few words will lock themselves into place. I might just get the first line. Then words just keep falling into the syllables. The choruses kind of write themselves and verses I have to work at a little bit.
Anytime I float by a window, I can tell whether the outside is lit or if it's dark outside. When we're working it's just day for us with the lights on inside.
To view any individual as being independent of relationality is like viewing a point outside of a line, a line outside of a figure, a figure outside of a body.
...the long train ride was like traveling through limbo. You weren't anywhere when you were on a train, she decided. You weren't where you had been, and you weren't yet where you were going. You were nowhere. It might be beautiful outside the window-and it was, she had sense enough to realize that-but it wasn't anywhere to her, just a scene passing by that was framed by the train window. (p160)
When you write, you lay out a line of words. The line of words is a miner's pick, a wood carver's gouge, a surgeon's probe. You wield it, and it digs a path you follow. Soon you find yourself deep in new territory. Is it a dead end, or have you located the real subject? You will know tomorrow, or this time next year.
The press still thinks [global warming] is controversial. So they find the 1% of the scientists and put them up as if they're 50% of the research results. You in the public would have no idea that this is basically a done deal and that we're on to other problems, because the journalists are trying to give it a 50/50 story. It's not a 50/50 story. It's not. Period.
The landscape of childhood shapes us as it shapes the characters in our stories. You never forget the sacred places of your childhood.
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