A Quote by C.P. Cavafy
Try to keep them, poet, those erotic visions of yours, however few of them there are that can be stilled. Put them, half-hidden, in your lines.
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If you have unfilled dreams and visions of greater prosperity and success tucked in a corner of your mind, don't keep them there any longer. Dare to bring them out and dust them off.
When you have beaten guys a few times, you don't want them to think they know how you are going to play them. You have to try and find different ways of beating them. You have to do things they don't expect sometimes, put something unpredictable into your game.
I have five, six, seven things I do before those lines are in my brain. I say them like I'm a robot; I sing them. I put a pencil in my mouth, and I say them. I cook. I play with a cushion and say them - so they really are inside of me.
I consider as lovers of books not those who keep their books hidden in their store-chests and never handle them, but those who, by nightly as well as daily use thumb them, batter them, wear them out, who fill out all the margins with annotations of many kinds, and who prefer the marks of a fault they have erased to a neat copy full of faults.
If you've got somebody's aspects in your experience that you don't like, there's only one reason they're there. You keep evoking them with your attention to them. Without knowing about Law of Attraction, you have - through your old habit of observation - achieved vibrational harmony with the parts of them that you do not like, and you keep summoning those parts from them by your constant vibrational offering of them.
To live within limits. To want one thing. Or a few things very much and love them dearly. Cling to them, survey them from every angle. Become one with them - that is what makes the poet, the artist, the human being.
See things that you want as already yours. Know that they will come to you at need. Then let them come. Don't fret and worry about them. Don't think about your lack of them. Think of them as yours, as belonging to you, as already in your possession.
Secrets affect you more than you’d think. You lie to keep them hidden. You steer talk away from them. You worry someone’ll discover yours and tell the world. You think you are in charge of the secret, but isn’t it the secret who’s actually using you?
Try not to pay attention to those who will try to make life miserable for you. There will be a lot of those-in the official capacity as well as the self-appointed. Suffer them if you can't escape them, but once you have steered clear of them, give them the shortest shrift possible. Above all, try to avoid telling stories about the unjust treatment you received at their hands; avoid it no matter how receptive your audience may be. Tales of this sort extend the existence of your antagonists.
I know why we try to keep the dead alive: we try to keep them alive in order to keep them with us. I also know that if we are to live ourselves there comes a point at which we must relinquish the dead, let them go, keep them dead.
He almost danced to the fridge, found the three least hairy things in it, put them on a plate and watched them intently for two minutes. Since they made no attempt to move within that time he called them breakfast and ate them. Between them they killed a virulent space disease he'd picked up without knowing it in the Flargathon Gas Swamps a few days earlier, which otherwise would have killed off half the population of the Western Hemisphere, blinded the other half, and driven everyone else psychotic and sterile, so the Earth was lucky there.
The writer is both a sadist and a masochist. We create people we love, and then we torture them. The more we love them, and the more cleverly we torture them along the lines of their greatest vulnerability and fear, the better the story. Sometimes we try to protect them from getting booboos that are too big. Don’t. This is your protagonist, not your kid.
Birth order effects are like those things that you think you see out of the corner of your eye but that disappear when you look at them closely. They do keep turning up but only because people keep looking for them and keep analyzing and reanalyzing their data until they find them.
Because of my New Line upbringing, half my heart goes to scrappy independents, and half goes to mainstream, down-the-middle pop culture events. And even with those, to try to keep something fresh and original with them and try to do things that the majors miss.
When you serve your mother and father it is okay to try to correct them once in a while. But if you see that they are not going to listen to you, keep your respect for them and don't distance yourself from them. Work without complaining.
When I was in casting, we would bring somebody in, have them read their lines, maybe give them a few pointers, and hire them, and then once they go to the set and you have a director who's directing them, that performance may not be anywhere near what you had in the audition, either good or bad.
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