A Quote by Leigh Newman
When you're looking around for metaphor or simile, I do think it's often helpful to keep inside the world of the book, to gather your comparisons from the stuff particular to that world - be they king salmon and aviation fuel, or pot roasts and spatulas.
Related Quotes
He had gone beyond the world of metaphor and simile into the place of things that are, and it was changing him.
I'll buy metaphor, but simile's a cop-out used by scaredycats who won't commit to anything. Simile's for cowards.
When you are young, you often think that the world spins around you. You think you can do anything, can take the world on your shoulders.
As adults, when we attend to something in the world we are vividly conscious of that particular thing, and we shut out the surrounding world. The classic metaphor is that attention is like a spotlight, illuminating one part of the world and leaving the rest in darkness.
Often, we feel that we need a leader outside of ourselves -a Buddha, a Gandhi, or a Martin Luther King, Jr.- to show the way. But we have the Buddha inside of us. We have Gandhi and King inside of us as well. We are interconnected. We don't need to wait for some other person to be the change we want to see in the world
Take the case of the infinite ocean. There is no limit to its water. Suppose a pot is immersed in it: there is water both inside and outside the pot. The jnani sees that both inside and outside there is nothing but Paramatman. Then what is this pot? It is 'I-consciousness'. Because of the pot the water appears to be divided into two parts; because of the pot you seem to perceive an inside and an outside. One feels that way as long as this pot of 'I' exists. When the 'I' disappears, what is remains. That cannot be described in words.
Salmon. Salmon, salmon, salmon, salmon. I eat so much salmon at these weddings, twice a year I get this urge to swim upstream.
Aviation is going to control the world economically and militarily whether we like it or not. Airpower is not merely military aviation, it is also civilian aviation and airpower is peace power.
I'm not looking to be the King of Comedy, or the King of Hollywood. I just want to be able to keep making stuff that I'm into and have the opportunity to challenge myself with, wearing different hats.
What really happens is that the story-maker proves a successful 'sub-creator'. He makes a Secondary World which your mind can enter. Inside it, what he relates is 'true': it accords with the laws of that world. You therefore believe it, while you are, as it were, inside. The moment disbelief arises, the spell is broken; the magic, or rather art, has failed. You are then out in the Primary World again, looking at the little abortive Secondary World from outside.
God is inside you and inside everybody else. You come into the world with God. But only them that search for it inside find it. And sometimes it just manifest itself even if you not looking, or don't know what you looking for. Trouble do it for most folks, I think. ... Yeah, It. God ain't a he or a she, but a It.
Always keep absorbing art and looking at paintings and reading books and watching movies in other languages, just getting to know the world at hand and the world of the past. It's important to keep absorbing the world and keep engaging with it, and often that means not thinking about movies and thinking about other things.
I think a book is often an account, or a series of accounts, that create a world that is sort of half of the world. There are references to a world, and then the reader supplies the other fifty percent.
The poet, however, uses these two crude, primitive, archaic forms of thought (simile and metaphor) in the most uninhibited way, because his job is not to describe nature, but to show you a world completely absorbed and possessed by the human mind.
When you do anything creative, you really have to live entirely in that world. I think my ability to do that is what makes me such a bad dinner guest. I'm always looking over someone's shoulder, taking in stuff around the room, immersed in the world of whatever I'm writing about, and keeping the characters completely in my head.
'District 9' was a singular anti-Apartheid metaphor, and 'Elysium' is a more general metaphor about immigration and how the First World and Third World meet. But the thing that I like the most about the metaphor is that it can be scaled to suit almost any scenario.
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