A Quote by Christopher Moore
I kind of dislike 'For Whom the Bell Tolls,' but most of Hemingway in general, mainly because his stylistic shenanigans ruined so many young writers of my generation who tried to imitate him. I think, for his time, he moved fiction to a different level stylistically, or at least added to the dialogue, but in our time, he's annoying.
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I have a graduate degree from Penn State. I studied at Penn State under a noted Hemingway scholar, Philip Young. I had an interest in thrillers, and it occurred to me that Hemingway wrote many action scenes: the war scenes in 'A Farewell to Arms' and 'For Whom the Bell Tolls' come to mind. But the scenes don't feel pulpy.
In For Whom the Bell Tolls, Hemingway cozies up to revolution by romanticizing it (and not only with those execrable love scenes).
In 'For Whom the Bell Tolls,' Hemingway cozies up to revolution by romanticizing it (and not only with those execrable love scenes).
If you feel an aversion to a person--that is, an unexplainable feeling of dislike or distaste for him--it is the most dangerous time for a proper opinion of him, his character, or his actions. Any judgment you pass upon him at such a time is bound to be unfair.
Any man's death diminishes me, because I am involved in Mankind; And therefore never send to know for whom the bell tolls; it tolls for thee.
For Zidane to say he's impressed - well, that's the greatest compliment! He was my role model, I just loved to see him play, and I used to try and imitate his moves when I was young. I think he was by far the best footballer of his generation.
ask not for whom the bell tolls; it tolls for thee
I really need to know where I'm going with fiction to write it in a way that at least I'm happy with. And I really think that a lot of fiction books end badly because terrific writers said, "I'll just figure it out" and plunge in, but have created so many problems that they are kind of impossible to solve. I mean, I'm talking really good writers do this and you can tell when they got to the end they either had to do something preposterous or they just don't really resolve things. So for fiction I spend a lot more time outlining and for humor I really don't do much of it.
All mankind is of one author, and is one volume; when one man dies, one chapter is not torn out of the book, but translated into a better language; and every chapter must be so translated....As therefore the bell that rings to a sermon, calls not upon the preacher only, but upon the congregation to come: so this bell calls us all....No man is an island, entire of itself...any man's death diminishes me, because I am involved in mankind; and therefore never send to know for whom the bell tolls; it tolls for thee.
I was most confusedly in love. ... Even though I resolved not to think of him, his face would keep appearing between me and a book I tried to read, or his voice would suddenly sound instead of the words I tried to write on a page. ... I found love annoying and uncomfortable, like fetters, until I got used to it.
There are many other writers whose work I admire tremendously, but none whose work struck me at just the right young age. Jack Vance taught me that speculative fiction, science fiction, could be wonderfully and liberatingly stylistic. It didn't have to be pulp stuff. He really changed my writing and my view of science fiction, so if nothing else, my little homage to him in the novelette I wrote for that anthology is my thank-you to him. He helped me see that any genre can have excellent writing in it.
With Aquaman I worked with such talented guys, Ivan Reis and Joe Prado. And he's a great character. I mean, Aquaman's a great character, he just hasn't been positioned in a role of importance in a long, long time. We tried to do that in this series; give him this platform because he deserves it, and give a very different perception of Aquaman while at the same time staying true to who the character is. Showing his power level, his fortitude, his sense of honor and commitment and responsibility, and hopefully showing everything that makes a hero a hero.
I think all writers are mainly writing for themselves because I believe that most writers are writing based on a need to write. But at the same time, I feel that writers are, of course, writing for their readers, too.
Play for young children is not recreation activity, It is not leisure-time activity nor escape activity. Play is thinking time for young children. It is language time. Problem-solving time. It is memory time, planning time, investigating time. It is organization-of-ideas time, when the young child uses his mind and body and his social skills and all his powers in response to the stimuli he has met.
It is not indeed certain, that the most refined caution will find a proper time for bringing a man to the knowledge of his own failing, or the most zealous benevolence reconcile him to that judgment by which they are detected; but he who endeavours only the happiness of him whom he reproves will always have either the satisfaction of obtaining or deserving kindness; if he succeeds, he benefits his friend; and if he fails, he has at least the consciousness that he suffers for only doing well.
Behind the newspaper Julian was withdrawing into the inner compartment of his mind where he spent most of his time. This was a kind of mental bubble in which he established himself when he could not bear to be a part of what was going on around him. From it he could see out and judge but in it he was safe from any kind of penetration from without. It was the only place where he felt free of the general idiocy of his fellows. His mother had never entered it but from it he could see her with absolute clarity.
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