A Quote by Dorothy L. Sayers
All the children seem to be coming out quite intelligent, thank goodness. It would have been such a bore to be the mother of morons, and it’s an absolute toss-up, isn’t it? If one could only invent them, like characters in books, it would be much more satisfactory to a well-regulated mind.
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A big part of the fun of working on Superman has been coming up with new characters and concepts to toss in, helping to design their costumes, things like that. And I spent ages coming up with the name 'Fortress of Solidarity,' so I want to get as much use out of it as I can!
So much of what I do... is coming up with new characters and trying to invent voices for them, and to have people fully fleshed out in my head and to know who can say what in the scene and who these characters are... I love it.
I don't change the language for children books. I don't make the language simpler. I use words that they might have to look up in the dictionary. The books are shorter, but there's just not that much difference other than that to be honest. And the funny thing is, I have adult writer friends [to whom I would say], "Would you think of writing a children's book?" and they go, "No, God, I wouldn't know how." They're quite intimidated by the concept of it. And when I say to children's books writers, would they write an adult book, they say no because they think they're too good for it.
Intuitively, one would assume if you don't grow up with other children you might not learn that easy give and take. What often happens is that there are some only children who act that way, and that stands out more than the only children who seem to get along with others.
What could be nicer than to have three horrible children behind you in an airplane, and the next set, you go onstage and you talk about how much you despise the children and what you would like to do to them on an airplane? That's the only time I would gladly take a terrorist on. It'd be worth it to get rid of these children.
I don't know if I could play 'intimidating' in a way that's physically a tough type, and it feels like since 'Mindhunter' came out, auditions have been much more geared toward more intelligent characters. And that's the kind of stuff I like to play.
Like many a better one before me, I have gone down under the force of numbers, under the books and books and books that keep coming out and coming out and coming out, shoals of them, spates of them, flash floods of them, too blame many books, and no sign of an end.
The book is an experience that allows you to witness your feelings without having to surrender to them, to succumb to them, or to be battered by them. It gives you access to a deep knowledge of how you would respond to things you would never, thank goodness, have been required to experience.
I could learn photography. That could be something to want. I could photograph children. I could have my own children. I would give them yellow roses. And if they got too loud, I would just put them some place quiet. Put them in the oven. And I would kiss them every day, and tell them you don't have to be anybody, because I would know that being somebody doesn't make you anybody anyway.
The illness has only made certain ambivalences I'd always been conscious of that much more acute. Life versus Death, the absolute randomness of one's position, privilege, and place, the lot one draws, and so on. It has made previously suspicious-seeming clichés seem more tolerable. Love may not be all you need, but it is certainly a necessity. My desire to survive has been exponentially magnified by the fact that there is someone intimately tangled up in me who would be left alone with the world.
It had been startling and disappointing to me to find out that story books had been written by people, that books were not natural wonders, coming up of themselves like grass. Yet regardless of where they come from, I cannot remember a time when I was not in love with them - with the books themselves, cover and binding and the paper they were printed on, with their smell and their weight and with their possession in my arms, captured and carried off to myself. Still illiterate, I was ready for them, committed to all the reading I could give them.
Peter was not with them for the moment, and they felt rather lonely up there by themselves. He could go so much faster than they that he would suddenly shoot out of sight, to have some adventure in which they had no share. He would come down laughing over something fearfully funny he had been saying to a star, but he had already forgotten what it was, or he would come up with mermaid scales still sticking to him, and yet not be able to to say for certain what had been happening. It was really rather irritating to children who had never seen a mermaid.
travel never made a bore interesting; it only makes for a well-traveled bore, in the same way coffee makes for a wide-awake drunk. In fact, the more a bore travels, the worse he gets. The only advantage in it for his friends and family is that he isn't home as much.
It would seem staggeringly arrogant to think we were the only ones in the universe, but at the same time, I don't know if contact has been made yet or not because you think something like that would be hard to cover up. I'm still on the fence. I keep an open mind about all of these things.
I think I work much harder on the children's books. I suppose I enjoy that. I find it interesting that although there are more than 30 books in the Discworld series, it is the four that were written for children which have won the awards. I've never been quite certain why this is.
Here's the analogy. If my body were a car, I'd be thinking about trading it in around now. I would like to upgrade. I would be actually on the lot somewhere and some guy with a loud sports jacket would be sizing me up...kinda lookin' around goin--maybe kickin my knees. Looking behind me going: That looks a little bashed in back there...Yeah. You mind if I check under the hood?" 'Well yes I do! Thank you very much.
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