A Quote by Iain Sinclair
You can't leave the thing that you are, the house that has become your biography.
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You don't even have to leave your house: you do your work from your house; you can order anything you want from your house; you don't have to leave your chair. Everything's been designed so that you never leave your computer chair.
Your biography becomes your biology. This biography includes the totality of your choices, the things you feed your body - you thoughts, your actions, your food - the thing you feed your life.
Leave everything. Leave Dada. Leave your wife. Leave your mistress. Leave your hopes and fears. Leave your children in the woods. Leave the substance for the shadow. Leave your easy life, leave what you are given for the future. Set off on the roads.
To become a photographer leave your house first.
Biography always has fulfiled this role. Robinson Crusoe is a biography, as is Tom Jones. You can go through the whole range of the novel, and you will find it is biography. The only difference between one example and the other is that sometimes it's a partial biography and sometimes it's a total biography. Clarissa, for example, is a partial biography of Clarissa and a partial biography of Lovelace. In other words, it doesn't follow Lovelace from when he is in the cradle, though it takes him to the grave.
You know that you wouldn't take a baby on a plane without diapers, so when you leave your house, take care of you, like you would a baby. Don't leave your house without packing some healthy things.
Your house is your larger body. It grows in the sun and sleeps in the stillness of the night; and it is not dreamless. Does not your house dream, and dreaming, leave the city for grove or hilltop?
If your house is on fire and you can only escape with your life and one thing, what one thing would you take out of your house? I got to think my laptop is the one thing that is totally irreplaceable. Either that or my son. Laptop. I'll go laptop.
The heart of Paris is like nothing so much as the unending interior of a house. Buildings become furniture, courtyards become carpets and arrases, the streets are like galleries, the boulevards conservatories. It is a house, one or two centuries old, rich, bourgeois, distinguished. The only way of going out, or shutting the door behind you, is to leave the centre.
It's a feature of our age that if you write a work of fiction, everyone assumes that the people and events in it are disguised biography — but if you write your biography, it's equally assumed you're lying your head off.
All your words are but to say: you are a woman, and your part is in the house. But when the men have died in battle and honour, you have leave to be burned in the house, for the men will need it no more. But I am of the House of Erol and not a serving-woman. I can ride and wield blade, and I do not fear either pain or death.
I always say leave things at the door. Whether it's at your audition or at your house, leave the problems of the day away. Keep persevering, stick to yourself. Don't do what other people ask, do what you want!
Sometimes you leave the house for school, and you realize you're wearing the same thing as your toddler, which is embarrassing! I try to avoid it at all costs.
I certainly don't want a child of mine to be famous, or anyone I was very close to who isn't yet... It's the worst thing to be trapped in your house not be able to leave.
The best one-volume biography of Abraham Lincoln is still Benjamin Thomas's 1952 biography. David Donald's 1995 biography is a close second, and close enough that if you can only obtain the Donald rather than the Thomas, your book club will still be doing just fine.
One winter, when I was 12, my older brother Frank (20) said to my father, 'We want you out of the house. We don't want anything other than the house we live in. We don't want anything from you. Just leave.' And he left.
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