A Quote by Chaim Potok

There is in my work a very strong religious foreground and background. In the later work some of that tends to diminish, but it's certainly present in the early work.
So much of my work is defined by the difference between the figure in the foreground and the background. Very early in my career, I asked myself, "What is that difference?" I started looking at the way that a figure in the foreground works in eighteenth- and nineteenth-century European paintings and saw how much has to do with what the figure owns or possesses. I wanted to break away from that sense in which there's the house, the wife, and the cattle, all depicted in equal measure behind the sitter.
I was taught from a very early age that I had to work twice as hard to get half as much. That was the world I grew up in - a very strong work ethic.
Ideas' can be only in the distant background of a work of art, something like a very low horizon. In the middle distance and foreground... there shouldn't be any 'ideas' visible.
Although not of the quality of my later work, I feel there is some quality to it [my early work] in an art sense, and probably some additional quality in a biographical sense.
I tend to work on the principle that much humour relies on cognitive dissonance - on the foreground not matching the background, on the protagonist's response to a situation being inappropriate, and so on.
If character is the foreground of fiction, setting is the background, and as in a painting's composition, the foreground may be in harmony or in conflict with the background.
I learned really early on that I had to treat it as if it were a real job. This might be my middle class background - the Irish work ethic, which isn't quite the same as the Protestant work ethic - but still, it's, 'Get a job and show up every day. Be there. And don't complain. Who do you think you are: you're nobody special; go to work.'
One can't be happy as I have been for very long. There's a law against it. I have worked hard and enjoyed my work and it is the punishment of man to hate his work. Sooner or later I will have work that I hate.
I work a lot and I like to get out and work but the work I do to make the other work work I'm not very good at.
I love to work, and to make all kinds of work. But if I work on a fashion story then I work for somebody. If I work for me, for an art project, then I'm not that nervous. It doesn't matter when the photo is done. And if I work on a fashion shoot, then I have access to all these things that I can use later for my art - a still life here or there. I can do all of this while the model is changing.
Let's see... Rihanna! Work, work, work, work, work, work; OK, what? How much work does it take to move your behind, honey? I don't understand the job situation you're going through.
Work on causal theories of knowledge - early work by Armstrong, and Dretske, and Goldman - seemed far more satisfying. As I started to see the ways in which work in the cognitive sciences could inform our understanding of central epistemological issues, my whole idea of what the philosophical enterprise is all about began to change. Quine certainly played a role here, as did Putnam's (pre-1975) work in philosophy of science, and the exciting developments that went on in that time in philosophy of mind.
In a play, certainly, the subject is of more importance than in any other work of art. Infelicity, triviality, vagueness of subject, may be outweighed in a poem, a novel, or a picture, by charm of manner, by ingenuity of execution; but in a drama the subject is of the essence of the work-it is the work. If it is feeble, the work can have no force; if it is shapeless, the work must be amorphous.
Have I then no work to work in this great matter of my pardon? None. What work canst thou work? What work of thine can buy forgiveness or make thee fit for the Divine favour? What work has God bidden thee work in order to obtain salvation? None. His Word is very plain and easy to be understood, "To him that worketh not, but believeth in Him that justifieth the ungodly, his faith is counted for righteousness" (Rom. 4:5). There is but one work by which a man can be saved. That work is not thine, but the work of the Son of God. That work is finished.
I never work with music. I hate background music, always did. I only like music in the foreground, meaning, deliberately listen to it, actually.
I like to work in the morning, usually from 7-12, and still always hope to do more later. At the end of a book, I just work most of the time, but in general, I like to be working nice and early.
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