A Quote by Charles Yu
I am transcribing a book that I have, in a sense, not yet written, and in another sense, have always written, and in another sense, am currently writing, and in another sense, am always writing, and in another sense, will never write.
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One of the things is, in the writing process, if you do it enough, you have a sense of where you are. I didn't have that with the first book as I was writing it. Now, as I write books, I have a sense of where I am. Unfortunately, the sense of where I am is usually behind.
I think that's what I love about writing, is the ability to try to, in a sense, take a vacation from yourself and try to enter the sensibility of another time, another character, another place.
The Republicans, in the various arguments, repeat exactly the same phrases one after another, with no sense of embarrassment, no sense of shame, no sense of intellectual integrity.
In a sense, each of us is an island. In another sense, however, we are all one. For though islands appear separate, and may even be situated at great distances from one another, they are only extrusions of the same planet, Earth.
In one sense 'there are' both universals and material objects, in another sense there is no such thing as either: statements about each can usually be analysed, but not always, nor always without remainder.
In certain places, not always, there are moments where I tried to convey in English a sense of foreignness. I wanted the reader to get the sense that another language is being spoken.
The simplest aspect of self-enquiry is to just hold onto the sense I AM, the sense of Being. Keep the sense of "I" or "I AM" by itself. Everyone can do this exercise - it brings immediate results.
Depth, in a pictorial, plastic sense, is not created by the arrangement of objects one after another toward a vanishing point, in the sense of the Renaissance perspective, but on the contrary (and in absolute denial of this doctrine) by the creation of forces in the sense of push and pull . Nor is depth created by tonal gradation (another doctrine of the academician which, at its culmination, degraded the use of color to a mere function of expressing dark and light).
Always get to the set or the location early, so that you can be all alone and draw your inspiration for the blocking and the setups in private and quiet. In one sense, it's about protecting yourself; in another sense, it's about always being open to surprise, even from the set, because there may be some detail that you hadn't noticed. I think this is crucial. There are many pictures that seem good in so many ways except one: They lack a sense of surprise, they've never left the page.
Words are substance strange. Speak one and the air ripples into another's ears. Write one and the eye laps it up. But the sense transmutes, and the spoken word winds through the ear's labyrinth into a sense that is no longer the nerve's realm. The written word unfolds behind the eye into the world, world's image, and the imagination sees as the eye cannot see-thoughtfully.
Creating a set list is like making a running order for an album. Certain things get pitted against one another that make more sense. One song sets another one off, or it might diminish it. You're just constantly looking for the next thing that's gonna make sense in a particular place.
Love is the bridge that leads from the I sense to the We, and there is a paradox about personal love. Love of another individual opens a new relation between the personality and the world. The lover responds in a new way to nature and may even write poetry. Love is affirmation; it motivates the yes responses and the sense of wider communication. Love casts out fear, and in the security of this togetherness we find contentment, courage. We no longer fear the age-old haunting questions: "Who am I?" "Why am I?" "Where am I going?" - and having cast out fear, we can be honest and charitable.
Everything I write comes from my childhood in one way or another. I am forever drawing on the sense of mystery and wonder and possibility that pervaded that time of my life.
The juggle of sophistry consists, for the most part, in using a word in one sense in all the premises, and in another sense in the conclusion.
She had...the glimmerings of a sense of humour - which is simply another name for a sense of the fitness of things.
What we need to do is take that inchoate sense that something isn't right and give it a structural component and the sense that things can be another way.
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