A Quote by Corra May Harris
I remember being very smart, which is a form of stupidity. I try not to remember it, but it occurs to me that I may have felt intellectual. I entertained views too noble or too bitter to be true. I must have done some soul-stretching of my mental neck.
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Novelists are perhaps the last people in the world to be entrusted with opinions. The nature of a novel is that it has no opinions, only the dialectic of contrary views, some of which, all of which, may be untenable and even silly. A novelist should not be too intelligent either, although he may be permitted to be an intellectual.
When we think of cruelty, we must try to remember the stupidity, the envy, the frustration from which it has arisen.
It is good reason, that man consisting of two parts, the soul and body, the body only should not take up all, but the soul should be remembered too. Enjoying is the body's part, and well-doing is the soul's; your souls are suitors to you to remember them, that is, to remember well-doing, which is the soul's portion.
In essay writing, I'm trying to push the form of expository writing. I'm trying to remember, trying to reckon, trying to find connections with the world, the nation and me, but I'm always trying to push the form, too, without being too obvious that I'm trying to push the form.
God has been very good to me, for I never dwell upon anything wrong which a person has done, so as to remember it afterwards. If I do remember it, I always see some other virtue in that person.
I remember somebody saying, "I feel really bad for kids growing up around iPads right now. It's just too complicated. Life's too complicated." I think, yeah, but I remember being a kid and holding up a new piece of technology that was made in the '80s and my grandparents going, "Oh, it's too complicated." It didn't seem complicated to me.
Remember that all worlds draw to an end and that noble death is a treasure which no one is too poor to buy.
I was 12 and I remember everything. I mean, I had done two films before that. The first was actually with Amy Heckerling. It was so brilliant to work with her on my first film. Atonement was the third one I'd done, and I remember how it felt to arrive on set every day. I remember how it felt to get my wig off at the end of the day. I remember how hot it was.
I remember being on Atonement and it felt very right to be there. There was so much excitement every day. I remember very vividly how it felt to be a child on a film set, and that is actually really important to hold on to for as long as you continue to make films.
To be honest, I felt more myself with that haircut. I felt bold, and it felt empowering because it was my choice. It felt sexy too. Maybe it was the bare neck, but for some reason I felt super-, supersexy.
I write books for teenagers because I vividly remember what it felt like to be a teen facing everyday and epic dangers. I don't write to protect them. It's far too late for that. I write to give them weapons-in the form of words and ideas-that will help them fight their monsters. I write in blood because I remember what it felt like to bleed.
The heart of most spiritual practices is simply this: Remember who you are. Remember what you love. Remember what is sacred. Remember what is true. Remember that you will die and that this day is a gift. Remember how you wish to live.
I specifically remember doing the musical 'Sweet Charity' at Stagedoor. I was playing Vittorio Vidal, which is a very funny part, and some other small roles. I couldn't really sing that well, but there were so many fun bits, and I just remember the tremendous adrenaline rush I felt from being onstage and hearing the audience enjoying it.
It occurs to me that just as the Carthaginians hired mercenaries to do their fighting for them, we Americans being in mercenaries to do our hard and humble work. I hope we may not be overwhelmed one day by peoples not too proud or too lazy or too soft to bend to the earth and pick up the things we eat.
I can't remember any of the films I've done. You go from one to another, and they all blend in to a big mass. You remember the costumes because you remember how you felt - that Western I did with Kevin Costner where I wore the big hat and the two guns, I remember that.
True to their history, the English are very domineering and have manipulated it in different ways. I wouldn't say that there was an original, but there is a lot of expurgation in some of the Victorian translations, and there's a lot of additional salacious nonsense in some of them, too. I also like the early French one, much-derided for being fanciful but which is actually very elegantly done. It's very big, very capacious.
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