A Quote by Edgar Allan Poe

In the tale proper--where there is no space for development of character or for great profusion and variety of incident--mere construction is, of course, far more imperatively demanded than in the novel.
For my part, the good novel of character is the novel I can always pick up; but the good novel of incident is the novel I can never lay down.
A novel can be set in motion by an incident, a character, a location, a mood - by anything at all. Sometimes the stimulus can be an idea, which will rapidly clothe itself in character and incident. 'Foreign Bodies' came about through the contemplation of the contrast between post-second world war America and Europe.
I feel that Pride and Prejudice is an incredibly well constructed novel on every level. The dialogue is great. The character development is great. The plotting is great. The pacing is great. The language is great.
Macroscopic objects, as we see them all around us, are governed by a variety of forces, derived from a variety of approximations to a variety of physical theories. In contrast, the only elements in the construction of black holes are our basic concepts of space and time. They are, thus, almost by definition, the most perfect macroscopic objects there are in the universe.
One thing is certain: the humility of faith, if it is followed by the proper consequences-by the acceptance of the work and sacrifice demanded by our providential task-will do far more to launch us into the full current of historical reality than the pompous rationalizations of politicians who think they are somehow the directors and manipulators of history.
The biographical novel sets out to document this truth, for character is plot, character development is action, and character fulfillment is resolution.
The artist usually sets out -- or used to -- to point a moral and adorn a tale. The tale, however, points the other way, as a rule. Two blankly opposing morals, the artist's and the tale's. Never trust the artist. Trust the tale. The proper functions of a critic is to save the tale from the artist who created it.
The philosophy of individualism owes a great deal to the tradition of novel-writing and novel-reading. In its development and in its aesthetics, the novel is not politically neutral; it has been a participant in history all along.
'The Slap' is not like anything else. It's an incredibly well-written novel that has been turned into a great and intriguing series that reveals both less and more about each character than you learn in the book. It's a novel that has been given a second chance to live.
I think that it's good for us to be able to travel in space and do research in space, and I emphasize the research, because space travel to me is far more than just seeing how far we can go.
Variety of mere nothings gives more pleasure than uniformity of something.
It is far more difficult to be simple than to be complicated; far more difficult to sacrifice skill and easy execution in the proper place, than to expand both indiscriminately.
I went to art school in Chicago for a year at Columbia College. I had this whole master plan of getting into sustainable development and green architecture and construction, so I wanted to go to business school and then get my masters in construction and development.
If we ask for more and more material for the construction, i.e. more and more choice, we're likely to end up with a lot of combinations that don't do much for us or are far more complex than they need to be.
And yet my, not only my faith, but my experience has led me to believe that the world is not a construction of space and time and matter and energy. That that mapping is insufficient. That the world is instead some kind of a linguistic construct. It is more in the nature of a sentence, or a novel, or a work of art than it is in the nature of these machine models of interlocking law that we inherit out of a thousand years of rational reductionism.
Law should seek far more than mere reconciliation; it should be one of the great creative forces of our social life.
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