A Quote by Celeste Ng
Rebecca Solnit is a clarion voice of reason.
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The reformer is one who with clarion voice will call the ministry back to it's knees.
We cannot have peace on Earth until we learn to speak with one voice. That voice must be the voice of reason, the voice of compassion, the voice of love. It is the voice of divinity within us.
A friend of mine, a poet, Rebecca Wolff recently said to me, "You know, your stories are really voice-driven," and I guess I knew that already, but it's so true that I can't get something going unless I can hear the voice.
There was never an accident.Rebecca was not drowned at all. I killed her.I shot Rebecca in the cottage in the cove.I carried her body to the cabin, and took the boat out that night and sunk it there, where they found it today.It's Rebecca who's lying dead there on the cabin floor.Will you look into my eyes and tell me that you love me now?
wait," I said. "so you're saying that you proposed to me because I'm a mess and I'm a person and because we need each other, while Rebecca was —— something else? I get it, I follow you, but I'm also thinking, is the bullshit getting a little deep in here?" "Yes, it is. You've caught me. And so fine, I will come clean, and I will tell you the absolutely true and naked reason why I want to marry you and only you, and not Rebecca." "Why?" "Because when I'm with you, I'm the pretty one.
I read 'Rebecca' when I was a teenager and was swept away by the powerful voice, the gut wrenching suspense and the dark, twisted love story at its center.
My wife's name, Rebecca Lobo, is on sandwiches and street signs in New England. It adorns the arena rafters at the University of Connecticut, where she first became a basketball star. Her high school in Massachusetts is on Rebecca Lobo Way, a nice trump card to play at reunions.
In American Romances, her new book of essays, Rebecca Brown has a voice that is full of pop references, family stories, and the fruits of a lifetime of -- in her perfect phrase - extreme reading. The voice is a hoot, and it is dead serious. This is writing with exquisite control, fully up to the task Brown takes on of playing a fierce game of beach ball with deep problems of American (and personal) history and identity.
I thought of the scene while writing scenes with Rebecca [Hall] and wrote it like an opening montage of showing where someone works. If you see a film about a car mechanic, you'd show the place they work and what they do. So, that's what I set out to do with Rebecca's character. I thought it probably wouldn't even make it into film but I ended up liking it.
The kitchen was bright, cheerful yellow, the walls decorated with framed chalk and pencil sketches Simon and Rebecca had done in grade school. Rebecca had some drawing talent, you could tell, but Simon's sketches of people all looked like parking meters with tufts of hair.
I'm not 100% sure 'Rebecca' qualifies as a thriller, given it's three parts screwed-up love story and two parts ghost-story-without-a-ghost, but the mystery at the heart of the novel is what happened to Maxim's first wife, the eponymous Rebecca, and it's unravelled with the pacing and finesse of the finest psychological thrillers out there.
There are times when the voice of repining is completely drowned out by various louder voices: the voice of government, the voice of taste, the voice of celebrity, the voice of the real world, the voice of fear and force, the voice of gossip.
The voice of passion is better than the voice of reason. The passionless cannot change history.
I will always be the voice of the people and a voice for reason in Washington D.C.
I think that if my voice for some reason changes - because your voice does change - then it's time for me not to sing.
The voice of reason is more to be regarded than the bent of any present inclination; since inclination will at length come over to reason, though we can never force reason to comply with inclination.
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