A Quote by Elizabeth Bowen

[A writer] should try not to be too far, personally, below the level of his work. — © Elizabeth Bowen
[A writer] should try not to be too far, personally, below the level of his work.
So, too, if, to our surprise, we should meet one of these morons whose remarks are so conspicuous a part of the folklore of the world of the radio--remarks made without using either the tongue or the brain, spouted much like the spoutings of small whales--we should recognize him as below the level of nature but not as below the level of the imagination.
The thing is that what you try to do when you play is you try to play not below a certain level. In other words, it can be a special day where it would be phenomenal, but if it's not below a certain level, that's the goal. You know, that's what you want to do. That's why you practice and so on.
I cling to the idea that Herman Melville had to work at the end of his career watching ships in a dock, as a shipping agent in New York. Any writer who thinks they should be given patronage because of their gift... you don't have to look too far in history to see that's just not the case.
If the challenge is far beyond their skill level, they tend to get frustrated; if it's far below their skill level, they tend to get bored. Leaders need to strike the right balance.
The wise screen writer is he who wears his second-best suit, artistically speaking, and doesn't take things too much to heart. He should have a touch of cynicism, but only a touch. The complete cynic is as useless to Hollywood as he is to himself. He should do the best he can without straining at it. He should be scrupulously honest about his work, but he should not expect scrupulous honesty in return. He won't get it. And when he has had enough, he should say goodbye with a smile, because for all he knows he may want to go back.
And when statesmen or others worry him [the scientist] too much, then he should leave with his possessions. With a firm and steadfast mind one should hold under all conditions, that everywhere the earth is below and the sky above and to the energetic man, every region is his fatherland.
My m.o. as far as choosing projects is I really try not to work. I try to not do the scripts that are offered me. I'm in this wonderful position to be able to do that. The reason I do that is because I know what it takes once I engage, what that means for me personally and for my wife.
A private should preserve a respectful attitude toward his superiors, and should seldom or never proceed so far as to offer suggestions to his general in the field. If the battle is not being conducted to suit him, it is better for him to resign. By the etiquette of war, it is permitted to none below the rank of newspaper correspondent to dictate to the general in the field.
Thierry Henry is Thierry Henry. I still have everything to prove. By continuing to work, I will try to reach his level, but I am still very far off.
I have a problem with players who don't take the loss personally. At a professional level you should - it's our job, it's our livelihood, it's who we are at this level. Every loss should be taken that personal.
There's no such thing as too far. If it works it's funny, if it doesn't work it's too far, it's stupid. Really there's no such thing as "too far." You're joining the politically correct when you use words like "too far." You don't want to join the army of politically correct.
We should work with the principle that a work that can be done at a lower level should never be escalated to a higher level.
A writer should concern himself with whatever absorbs his fancy, stirs his heart, and unlimbers his typewriter. ... A writer has the duty to be good, not lousy: true, not false; lively, not dull; accurate, not full of error. He should tend to lift people up, not lower them down.
Let us ask... how things work at the level of on-going subjugation, at the level of those continuous and uninterrupted processes which subject our bodies, govern our gestures, dictate our behaviors, etc... we should try to discover how it is that subjects are gradually, progressively, really and materially constituted through a multiplicity of organisms, forces, energies, materials, desires, thoughts, etc. We should try to grasp subjection in its material instance as a constitution of subjects.
A man should live with his superiors as he does with his fire: not too near, lest he burn; nor too far off, lest he freeze.
The poet ranks far below the painter in the representation of visible things, and far below the musician in that of invisible things.
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