A Quote by Erik Larson
Beneath the gore and smoke and loam, this book is about the evanescence of life, and why some men choose to fill their brief allotment of time engaging the impossible, others in the manufacture of sorrow. In the end it is a story of the ineluctable conflict between good and evil, daylight and darkness, the White City and the Black.
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. . . why some men choose to fill their brief allotment of time engaging the impossible, others in the manufacture of sorrow.
We can work, study, laugh and have fun, dance, sing, and enjoy many different experiences. These are a wonderful part of life, but they are not central to why we are here. The opportunity to choose good over evil is precisely why we are here. Not one of us would say, "I want to choose evil." We all want to choose the right. However, the choice of good over evil is not always easy, because evil frequently lurks behind smiling eyes.
The book which the reader now holds in his hands, from one end to the other, as a whole and in its details, whatever gaps, exceptions, or weaknesses it may contain, treats of the advance from evil to good, from injustice to justice, from falsity to truth, from darkness to daylight, from blind appetite to conscience, from decay to life, from bestiality to duty, from Hell to Heaven, from limbo to God. Matter itself is the starting-point, and the point of arrival is the soul. Hydra at the beginning, an angel at the end.
The Book of Revelation is all about the conflict, the contest between the forces of Good and Evil.
I’m sure there’s some self-help cheese-ball book about the gray area, but I’ve been having this conversation with my friends who are all about the same age and I’m saying, ‘Y’know, life doesn’t happen in black and white.’ The gray area is where you become an adult the medium temperature, the gray area, the place between black and white. That’s the place where life happens.
It's the city's crush and heave that move you; its intricacy; its endless life. You know the story about Manhattan as a wilderness purchased for strings of beads, but you find it impossible not to believe that it has always been a city; that if you dug beneath it you would find the ruins of another, older city, and then another and another.
That's why for Zakk Wylde's Black Label Society the colors are black and white. There are no gray issues. Life is black and it's white. There's no in-between.
Short of coming to their senses and abolishing the whole thing, we might expect that the rules for daylight saving time will remain the same for some time to come, but there is no guarantee. (We can only be glad there is no daylight loan time, or we would face decades of too much daylight, only to be faced with a few years of total darkness to make up for it.
It felt very fresh to me, and it feels very contemporary - this idea that conflict's not being about good and evil and not necessarily being black and white. If you dig deep enough, you'll often find that people do things because they feel that they have to as opposed to because they are evil.
The darkness that we see in our world today is due to the disintegration of things out of harmony with God's laws. The basic conflict is not between nations, it is between two opposing beliefs. The first is that evil can be overcome by more evil, that the end justifies the means. This belief is very prevalent in our world today. It is the war way. It is the official position of every major nation.
I like movies that deal with trapped men. Men that need to make choices that are not obvious or easy choices. Then how do you visualize this? You create this character conflicted between two sides, because drama is about the conflict of two things, between your duty and your will, between what you want and what you can't have. It is all conflict between two things, and this is why you put your character in a place where you can visualize the conflict.
All his life Robert Grainier would remember vividly the burned valley at sundown, the most dreamlike business he’d ever witnessed waking—the brilliant pastels of the last light overhead, some clouds high and white, catching daylight from beyond the valley, others ribbed and gray and pink, the lowest of them rubbing the peaks of Bussard and Queen mountains; and beneath this wondrous sky the black valley, utterly still, the train moving through it making a great noise but unable to wake this dead world.
In a way, 'Sin City's designed to be paced somewhere between an American comic book and Japanese manga. Working in black and white, I realized that the eye is less patient, and you have to make your point, and sometimes repeat it. Slowing things down is harder in black and white, because there isn't as much for the eye to enjoy.
In a way, 'Sin City''s designed to be paced somewhere between an American comic book and Japanese manga. Working in black and white, I realized that the eye is less patient, and you have to make your point, and sometimes repeat it. Slowing things down is harder in black and white, because there isn't as much for the eye to enjoy.
Audiences want great story telling; it's why white people watch my show 'Black in America.' It's why black people watch 'Latina in America.' All of that is statistically shown and proven but it was because it was good story telling about people who were outsiders.
Too many writers think that all you need to do is write well-but that's only part of what a good book is. Above all, a good book tells a good story. Focus on the story first. Ask yourself, 'Will other people find this story so interesting that they will tell others about it?' Remember: A bestselling book usually follows a simple rule, 'It's a wonderful story, wonderfully told'; not, 'It's a wonderfully told story.'
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