A Quote by Deb Caletti
When I was a young mother at home with a two year old and a five year old, living on the Eastside in one of those neighborhoods where all the houses look the same, where all the cars look the same and the lawns look the same, I was writing in secret.
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You can open up a centenarian's brain, and you'll see some areas that look like that of a 50-year-old or of a 110-year-old. You can have variation in the basic process of aging, called senescence, in different parts of the same body.
A very young girl, myself, and my 70-year-old mother all look quite different wearing some of the same clothes from my shop. The whole secret is to know how to do it and some people never will, just like some can't make light pastry: they are lacking in some sort of grace.
Expansions do not die of old age. The probability of recession in the following year is the same for a three-year-old expansion as it is for a five- or six-year-old expansion.
When I was a kid, I had a friend who went on holiday to the same place every year and I never understood why. My ten-year-old eyes always wanted new things to look at - new branches of WH Smiths to look for Sweet Valley High books in, and different campsites or self-catering cottages to explore.
Every mother can easily imagine losing a child. Motherhood is always half loss anyway. The three-year-old is lost at five, the five-year-old at nine. We consort with ghosts, even as we sit and eat with, scold and kiss, their current corporeal forms. We speak to people who have vanished and, when they answer us, they do the same. Naturally, the information in these speeches is garbled in the translation.
Same old eyes, same old world but the difference is how you look at what is in front of you, not what it is.
Within those confining walls, teachers - a bunch of men all armed with the same information - gave the same lectures every year from the same notebooks and every year at the same point in the textbooks made the same jokes.
When you look at me on the telly and say, 'She should be on 'The Undateables,'' you are looking at a 59-year-old woman. That is what 59-year-old women who have not had work done look like. Get it?
One of my weekend hobbies is to go look at old houses when there are open houses around here. Just to go look at the architecture. And you can see how many houses were built around 1977, the year where everyone said, "Let's put in these aluminum windows instead of beautiful hand-made wood ones."
Sometimes you believe that you are targeting a 25-35-year-old young woman and you see that there is a crowd of 78-year-old people who are coming to buy some underwear, so it's not exactly the same kind of underwear that you have to sell.
There are some pretty obvious ways of benchmarking creativity. One way is to perform what I call a creativity audit, which is to look at your capabilities and look at your performance and examine the percentage of revenue that comes from products that are less than five years old, less than three years old and that are current with the present accounting period. You can then compare those figures to those of your competition along the same axes.
As a man - no longer a teenager that can play those really young roles, but as a man - I think I've only just got good in the last three or four years. I only watch my old films because, as someone who wasn't trained, that's how I look at my mistakes; I see something and I go, "Well, that's not good," and I learn from my mistakes. Same with the writing and same with the directing.
My body is full of graves. A sepulcher is dug up, and a young girl comes out of it with her dusty hands in tears. A lady who is a young girl and an old girl at the same time feels the presence of the young girl. I feel that the 15-year-old me and the 50-year-old me come out of the sepulcher through an illegal excavation.
In school, the year was the marker. Fifth grade. Senior year of high school. Sophomore year of college. Then after, the jobs were the marker. That office. This desk. But now that school is over and I've been working at the same place in the same office at the same desk for longer than I can truly believe, I realize: You have become the marker. This is your era. And it's only if it goes on and on that will have to look for other ways to identify the time.
It's true. somewhere inside us we are all the ages we have ever been. We're the 3 year old who got bit by the dog. We're the 6 year old our mother lost track of at the mall. We're the 10 year old who get tickled till we wet our pants. We're the 13 year old shy kid with zits. We're the 16 year old no one asked to the prom, and so on. We walk around in the bodies of adults until someone presses the right button and summons up one of those kids.
No two children learn in the same way. While we might agree that every American eight-year-old should be able to read and multiply, beyond those basics, there are few reasons to make every student follow the same path.
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