A Quote by Laurie Lee

I was set down from the carrier's cart at the age of three; and there with a sense of bewilderment and terror my life in the village began. — © Laurie Lee
I was set down from the carrier's cart at the age of three; and there with a sense of bewilderment and terror my life in the village began.
At any rate, that’s how I started running. Thirty three—that’s how old I was then. Still young enough, though no longer a young man. The age that Jesus Christ died. The age that Scott Fitzgerald started to go downhill. That age may be a kind of crossroads in life. That was the age when I began my life as a runner, and it was my belated, but real, starting point as a novelist.
As a boy, I once saw a cart of melons that sorely tempted me. I sneaked up to the cart and stole a melon. I went into the alley to devour it, but no sooner had I set my teeth into it, than I paused, a strange feeling coming over me. I came to a quick conclusion. Firmly, I walked up to that cart, replaced the melon - and took a ripe one.
During the session of the Supreme Court, in the village of -, about three weeks ago, when a number of people were collected in the principal street of the village, I observed a young man riding up and down the street, as I supposed, in a violent passion.
And so we remained till the red of the dawn began to fall through the snow gloom. I was desolate and afraid, and full of woe and terror. But when that beautiful sun began to climb the horizon life was to me again.
I used to live in a village, and I always loved listening to old people. Unfortunately, it was always women who were talking, because after the war, very few men were around. I spent my entire life living in the village. The village is always talking about itself; people are talking to each other as the village makes sense of itself.
The nearest village was a place called Pauperhaugh which was a village in the sense that it had a phone box and a bridge. By the time I got down south I had decades to catch up on. We only got colour television in 1978.
Panchayat' is set in a village and is the story of an urban man coming to the village.
I enjoy worldbuilding very much. I generally start with an approximation. With 'Flesh and Spirit' and 'Breath and Bone,' because I was thinking of a world on the brink of a dark age, I began with the sense of Roman Britain. But I purposely set the geography to match something other than Britain - which has been overdone.
We proceeded systematically, village by village and we destroyed the houses, filled up the wells, blew down the towers, cut down the shady trees, burned the crops and broke the reservoirs in punitive devastation.
I think you often have that sense when you write--that if you can spot something in yourself and set it down on paper, you're free of it. And you're not, of course; you've just managed to set it down on paper, that's all.
In my little town, Sighet, which is in Romania, Hungary-Romania, but a real shtetl, a little [Jewish] village - and we began with the Chumash [Pentateuch], probably at age four.
Terror, terror, terror. Life was a reign o terror in the shadow of the guillotine.
I think, in my life, there've been three times I've broken down into tears on a set because I was happy.
My acting career began at age three and my parents got me into it. I was in a McDonald's commercial.
I was not great behind the counter. I had a week off without asking for it. Another time, we had a cart go up in flames, and we went out on another cart, which we wrecked by running it into the cart that was on fire.
There has never been a greater illusion than fear. Fear exists only whilst you believe in it - whilst you fear it. So...stop believing, stop fearing. Set up a shadow inventory, write down all your fears and set out on your warrior path. Make this your life purpose and gold will be smelt from your terror.
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