A Quote by Mignon McLaughlin
The neurotic's strongest fantasy is that he has no fantasies. The real is very real to him, the unreal even more so.
Related Quotes
I feel like I'm real honest in my music. Even if it ends up being an exaggeration or a fantasy, it's a fantasy that's real to me.
What I thought was unreal now, for me, seems in some ways to be more real than what I think to be real, which seems now to be unreal
Living consciously reflects the conviction that sight is preferable to blindness; that respecting the facts of reality is more satisfying than denying them; that evasion does not make the unreal real or the real unreal; that it is better to correct your mistakes that to pretend they do not exist; and that the more conscious you are of facts bearing on your life and goals, the more wisely and effectively you can act.
Quit making excuses. What we're really talking about here is commitment. Until you make a commitment to your dream, it's not a commitment at all. It's just another fantasy. And fantasies don't come true because they're not real, we're not committed to them. When we make commitments, they become dreams. And dreams are very real.
The unreal is more powerful than the real. Because nothing is as perfect as you can imagine it. Because it's only intangibles, ideas, concepts, beliefs, fantasies that last. Stone crumbles. Wood rots. People, well, they die.
Twitter fascinates me because it's real. It feels kind of unreal, but it makes very real things happen.
I think there's more real in the unreal than there is in the real.
Play is always a fantasy, but once you get into the frame, it is quite real, and everything you do is real. You put acres and acres of real movement and real action and real belief in it.
The real world is the fantasy writer's scrapbook. Real history, real geography, real customs and religions are all invaluable sources of guidance and inspiration.
I want to die, stripped, by myself, of all fantasies. That's the goal. I want to feel what is real, at the end, and only what is real. Grip fiercely with my eyes all that is around me--the people of my intimate life, the objects in the room, without the evasions of fantasies.
The unreal is more powerful than the real, because nothing is as perfect as you can imagine it, because it's only intangible ideas, concepts, beliefs, fantasies that last. Stone crumbles, wood rots. People, well, they die. But things as fragile as a thought, a dream, a legend, they can go on and on.
I am a hopeless romantic. A silly, ridiculous, foolish romantic. I live in a fantasy land. I need to get real. And now, for the first time, I want to get real. I want a real relationship with a real man in the real world–-with all the real problems, faults, and whatever comes with it.
Real isn't how you are made. It's a thing that happens to you. Sometimes it hurts, but when you are Real you don't mind being hurt. It doesn't happen all at once. You become. Once you are Real you can't be ugly, except to people who don't understand. Once you are Real you can't become unreal again. It lasts for always.
What I do know is that traditional gender roles are very real and flipping the norm is difficult for even the strongest, funniest, smartest men.
I hardly need to abstract things, for each object is unreal enough already, so unreal that I can only make it real by means of painting.
A disturbing possibility exists that the television experience has not merely blurred the distinctions between the real and the unreal for steady viewers, but that by doing so it has dulled their sensitivities to real events. For when the reality of a situation is diminished, people are able to react to it less emotionally, more as spectators.
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