A Quote by Napoleon Bonaparte

I am the signet which marks the page where the revolution has been stopped; but when I die it will turn the page and resume its course. — © Napoleon Bonaparte
I am the signet which marks the page where the revolution has been stopped; but when I die it will turn the page and resume its course.
After me, the Revolution - or, rather the ideas which formed it - will resume their course. It will be like a book from which the marker is removed, and one starts to read again at the page where one left off.
I used to say Page Joseph Falkinburg - which is my given name - when Page Joseph Falkinburg stopped trying to be this over-the-top professional wrestler, Diamond Dallas Page, and Diamond Dallas Page became Page Joseph Falkinburg, that's when my career took off.
Yes, the fear of its blankness. At the same time, I kind of loved it. Mallarmé was trying to make the page a blank page. But if you're going to make the page a blank page, it's not just the absence of something, it has to become something else. It has to be material, it has to be this thing. I wanted to turn a page into a thing.
No one reads to hear someone complain about the weather or how poorly their children are behaving. You have to give the readers a reason to turn the page. As a writer you have to invite someone to turn the page. And that is a skill you have to refine. That is why you have to read. You have to read to learn what it is that makes people turn the page.
Fiction allows us to slide into these other heads, these other places, and look out through other eyes. And then in the tale we stop before we die, or we die vicariously and unharmed, and in the world beyond the tale we turn the page or close the book, and we resume our lives.
The art of fiction is one of constant seduction. You must persuade the reader on page 1 to start reading - on page 50, or page 150 and yes, on page 850.
It's always been my philosophy: Turn the page. If something falls through, turn the page. It's over with, get used to it, get on with it. Very simple. It's always worked for me.
You are wrong if you think that you can in any way take the vision and tame it to the page. The page is jealous and tyrannical; the page is made of time and matter; the page always wins.
When you're reading a newspaper and you're seeing ads on the page, it's not kind of invasive. Like, it's on the page next to the article. You can look at it or not. You can turn the page when you're ready. On the internet, the ads - many of the ads - just are so controlling. They insist that you see them.
Today, in 2011, if you go and buy a color laser printer from any major laser printer manufacturer and print a page, that page will end up having slight yellow dots printed on every single page in a pattern which makes the page unique to you and to your printer. This is happening to us today. And nobody seems to be making a fuss about it.
I know that the Bible is a special kind of book, but I find it as seductive as any other. If I am not careful, I can begin to mistake the words on the page for the realities they describe. I can begin to love the dried ink marks on the page more than I love the encounters that gave rise to them.
A book is something that young readers can experience on their own time. They decide when to turn the page. They'll put their arm right on the page so you can't turn it because they're not ready to go to the next page yet. They just want to look at it again, or they want to read the book over and over because they really enjoy setting the pace themselves.
If it bothers me on the page, I don't do it. If it attracts me on the page and moves me, makes me think a bit, makes me laugh, makes me cry, I'm interested in it. If it's there on the page, it means it's there and up to me to bring it out. I have done some films along the way that have been screwed up and not as good as they read. Some films that are not that good on the page turn into good movies. So I'm fallible is what I'm saying.
Characters for me are born on page one and they die on page 100.
I can't go on to page two until I can get page one as perfect as I can make it. That might mean I will rewrite and rewrite page one 20, 30, 50, 100 times.
I am interested in the confines of the page and busting through/off the page as well. A writer must let go of the line when writing prose poems, which brings its own pleasures.
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