A Quote by Christopher Isherwood

Staring and staring into the mirror, it sees many faces within its face - the face of the child, the boy, the young man, the not-so-young man - all present still, preserved like fossils on superimposed layers, and, like fossils, dead. Their message to this live dying creature is: Look at us - we have died - what is there to be afraid of? It answers them: But that happened so gradually, so easily. I'm afraid of being rushed.
We're just afraid, period. Our fear is free-floating. We're afraid this isn't the right relationship or we're afraid it is. We're afraid they won't like us or we're afraid they will. We're afraid of failure or we're afraid of success. We're afraid of dying young or we're afraid of growing old. We're more afraid of life than we are of death.
I don't feel bad or scared about getting older in terms of my looks or anything like that. I'm not afraid of my face changing. I enjoy seeing my face change. I think it's really interesting. I wouldn't want to have same face for my whole life. It would be boring to look at the same face in the mirror for 80 years.
We are afraid of ourselves and our own unconscious minds. When we are building something that reflects us, it's the one thing we're all afraid to face. We're afraid to face ourselves. Building machines that mirror our consciousness is a very frightening proposition because we have seen how evil people can be.
It is really very important while you are young to live in an environment in which there is no fear. Most of us, as we grow older, become frightened; we are afraid of living, afraid of losing a job, afraid of tradition, afraid of what the neighbours, or what the wife or husband would say, afraid of death.
We're in a hyper-connected world, and there's a crisis of connection. The first thing that God says about woman and man in the Bible is that it's not right for humans to be alone. Social media interaction cannot take the place of face-to-face interaction. If anything, it prevents us from doing that. We're staring into our screens for so long that we're forgetting to look at the people directly in front of us.
Look not at the face, young girl, look at the heart. The heart of a handsome young man is often deformed. There are hearts in which love does not keep. Young girl, the pine is not beautiful; it is not beautiful like the poplar, but it keeps its foliage in winter.
Just slap anything on when you see a blank canvas staring you in the face like some imbecile. You don't know how paralyzing that is, that stare of a blank canvas is, which says to the painter, ‘You can't do a thing’. The canvas has an idiotic stare and mesmerizes some painters so much that they turn into idiots themselves. Many painters are afraid in front of the blank canvas, but the blank canvas is afraid of the real, passionate painter who dares and who has broken the spell of `you can't' once and for all.
Do you suppose you will look the same when you are an old woman as you do now? Most folk have three faces—the face they get when they’re children, the face they own when they’re grown, and the face they’ve earned when they’re old. But when you live as long as I have, you get many more. I look nothing like I did when I was a wee thing of thirteen. You get the face you build your whole life, with work and loving and grieving and laughing and frowning.
Only a tiny fraction of corpses fossilize, and we are lucky to have as many intermediate fossils as we do. We could easily have had no fossils at all, and still the evidence for evolution from other sources, such as molecular genetics and geographical distribution, would be overwhelmingly strong. On the other hand, evolution makes the strong prediction that if a single fossil turned up in the wrong geological stratum, the theory would be blown out of the water.
There are things we don't do. From this moment forth, let us all ensure our every action reflects well on us and our ancestors. Let us live to the highest standards, lest we win this war only to find ourselves staring in the mirror at the face of our late enemy.
There's a young man hid with me, in comparison with which young man I am a Angel. That young man hears the words I speak. That young man has a secret way pecooliar to himself, of getting at a boy, and at his heart, and at his liver.
The mirror sees the man as beautiful, the mirror loves the man; another mirror sees the man as frightful and hates him; and it is always the same being who produces the impressions.
I was getting old, man. I was staring 27 in the face.
The enemy is like a woman, weak in face of opposition, but correspondingly strong when not opposed. In a quarrel with a man, it is natural for a woman to lose heart and run away when he faces up to her; on the other hand, if the man begins to be afraid and to give ground, her rage, vindictiveness and fury overflow and know no limit.
You are nothing like Christine!" he said, in my face. "She was a responsibility, a mistake I made when young and foolish, and from whom I came to believe I would never be free!" "Then what am I?" I challenged, staring up into blazing sapphire eyes. "A joy.
But whenever I look at the question of how to live, the answer's always staring me in the face. I'm already doing it.
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