A Quote by Francine Prose
Like seeing a photograph of yourself as a child, encountering handwriting that you know was once yours but that now seems only dimly familiar can inspire a confrontation with the mystery of time.
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When I was a child, I spoke like a child, I thought like a child, I reasoned like a child; when I became an adult, I put an end to childish ways. For now we see in a mirror, dimly, but then we will see face to face. Now I know only in part; then I will know fully, even as I have been fully known. And now faith, hope, and love abide, these three; and the greatest of these is love.
When, all at once, you find you have something precious you only dimly suspected was to be yours, you almost wish it hadn't come so soon.
I remember as a child I just would copy everyone else's handwriting, and now I have sort of a version of my sister's handwriting. And I feel like - sometimes I feel that way for my voice.
He felt all at once like an ineffectual moth, fluttering at the windowpane of reality, dimly seeing it from outside.
Adults always wonder what to say and how to say it when they're talking to a child. You want to be wise, but all you are is a child yourself in a larger body. Nothing is ever what it seems. The things that you think you know are never certain. I know that now. I wish that I didn't, but I do.
London is like a dream come true. As I ramble through it I am haunted by the curious feeling of something half-forgotten, but still dimly remembered, like a reminiscence of some previous state of existence. It is at once familiar and strange.
If it is difficult to know yourself as an individual, it seems to be more complex as a couple. So if you say, "Oh I like a person who is like this and that," you might take away the possibility of seeing the only one that might be right for you.
He seems to want confrontation not only with the legislature and with the other elected officials, but he wants constant confrontation in order to be center stage on the television screen.
It must happen to us all…We pack up what we’ve learned so far and leave the familiar behind. No fun, that shearing separation, but somewhere within, we must dimly know that saying goodbye to safety brings the only security we’ll ever know.
Part of the mystery of any given photograph is the fact that it was taken at a certain time and in a certain place and time keeps moving on. A photograph might be a moment in time preserved, but the world continues to change around it.
I know what I like to use myself. I use Leicas, but when I look at the photograph, I don't ask the photograph questions. Mine or anybody else's. The only time I've ever dealt with that kind of thing is when I'm teaching.
If your child seems to click with another kid in the class, try to set up a time for you to meet at a park after school and get to know their parent. Seeing you be outgoing with the parents of other children will encourage your child to be open and active in their friendships, too!
Until you have a child, you won't really understand that you would actually throw yourself in front of a bus for your child. Like, you don't really get it. Like, it's like, 'Hell no.' You know, 'She's only two. I can make another one.' You know? But, you know, you have a baby, and then you actually care about this person.
Human beings are like detectives. They love a mystery. They love going where the mystery pulls them. What we don't like is a mystery that's solved completely. It's a letdown. It always seems less than what we imagined when the mystery was present. The last scene in `Blow Up' is so perfect because you leave the theater still dreaming. Or the end of `Chinatown,' where the guy says `Forget it, Jake, it's Chinatown.' It explains so much but it only gives you a dream of a bigger mystery. Like life. For me, I want to solve certain things but leave some room to dream.
"You know you are seeing such a photograph if you say to yourself, "I could have taken that picture. I've seen such a scene before, but never like that." It is the kind of photography that relies for its strengths not on special equipment or effects but on the intensity of the photographer's seeing. It is the kind of photography in which the raw materials-light, space, and shape-are arranged in a meaningful and even universal way that gives grace to ordinary objects."
Anybody can direct a picture once they know the fundamentals. Directing is not a mystery, it's not an art. The main thing about directing is: photograph the people's eyes.
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