A Quote by Lois McMaster Bujold
I need words that mean more than they mean, words not just with height and width, but depth and weight and, and other dimensions that I cannot even name.
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When a poem is really finished, you can't change anything. You can't move words around. You can't say, 'In other words, you mean.' No, that's not it. There are no other words in which you mean it. This is it.
I think you often say more by saying less. And interestingly enough, I mean, Jesus really set the standard. I mean, he could say more with fewer words than anybody. Most of the parables were less than 250 words. And, boy, did he have some one-liners just packed with truth.
There are times when I can't stop speaking, when a million words leave my mouth in a matter of seconds… a million words that mean nothing… but when I want to find some words that mean everything, I just can't speak. Like: I miss you. Like: I love you. Like: My world is falling apart and I need you by my side.
I used to do miserably in English literature, which I thought was a sign of moral turpitude. As I look back on it, I think it was rather to my credit. The notion of actually putting writers' words into other words is quite ridiculous because why bother if writers mean what they mean, and if they don't, why read them? There is, I suppose, a case for studying literary works in depth, but I don't quite know what 'in depth' means unless you read a paragraph over and over again.
Words mean more than we mean to express when we use them: so a whole book ought to mean a great deal more than the writer meant.
I'm very much afraid I didn't mean anything but nonsense. Still, you know, words mean more than we mean to express when we use them; so a whole book ought to mean a great deal more than the writer means. So, whatever good meanings are in the book, I'm glad to accept as the meaning of the book.
According to String Theory, what appears to be empty space is actually a tumultuous ocean of strings vibrating at the precise frequencies that create the 4 dimensions you and I call height, width, depth and time.
I think I fully commit myself to any role to the extent to which I can. In other words there's some roles that maybe it's just not there, in other words on the page. You know, I mean your job is you need to play the governor and that's what you do. I mean I'm not going to stay up all night if I'm playing a functional role. And I've played a couple of functional roles. And so I'm not going to do anything other, look he's a functional guy. He says hey mister, you forgot your hat.
Acting doesn't have anything to do with listening to the words. We never really listen, in general conversation, to what the other person is saying. We listen to what they mean. And what they mean is often quite apart from the words. When you see a scene between two actors that goes really well you can be sure they're not listening to each other - they're feeling what the other person is trying to get at. Know what I mean?
I've always felt I had more in common with the modernist approach than with postmodernism, but I can see where the connection might arise - and to be honest, I'm no academic, so I tend to use these words, like in Alice In Wonderland, to mean what I want them to mean rather than what they actually do mean.
Child, to say the very thing you really mean, the whole of it, nothing more or less or other than what you really mean; that's the whole art and joy of words.
If I stand alone, It does not mean, I am any less a Human, If my arms do not hold another, It does not mean, They are incapable of holding, If my tongue is silent, And never speaks the words of Love, It does not mean, That it will be mute, When the time comes, That the words can sincerely be spoken. And just because the World, Has not yet introduced, The one that will share my Life, It certainly does not mean, That I am incapable, Of Loving.
I think not in two or three dimensional terms but in five dimensional terms when I consider a novel. There's height, width, and depth, there's the time factor, and then there's the factor which I call the cerebral factor of the reader, the way the reader adjusts to all the other dimensions, which is the fifth dimension.
What drivel it all is!... A string of words called religion. Another string of words called philosophy. Half a dozen other stringscalled political ideals. And all the words either ambiguous or meaningless. And people getting so excited about them they'll murder their neighbours for using a word they don't happen to like. A word that probably doesn't mean as much as a good belch. Just a noise without even the excuse of gas on the stomach.
Let me try once more," Milo said in an effort to explain. "In other words--" "You mean you have other words?" cried the bird happily. "Well, by all means, use them. You're certainly not doing very well with the ones you have now.
It normally happens that if you put two words together, or two syllables together, one of them will attract more weight, more emphasis, than the other. In other words, most so-called spondees can be read as either iambs or trochees.
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