A Quote by Nick Hornby

I do not wish to produce prose that draws attention to itself, rather than the world it describes. — © Nick Hornby
I do not wish to produce prose that draws attention to itself, rather than the world it describes.
All knowledge is of itself of some value. There is nothing so minute or inconsiderable, that I would not rather know it than not. In the same manner, all power, of whatever sort, is of itself desirable. A man would not submit to learn to hem a ruffle, of his wife, or his wife's maid; but if a mere wish could attain it, he would rather wish to be able to hem a ruffle.
A human group transforms itself into a crowd when it suddenly responds to a suggestion rather than to reasoning, to an image rather than to an idea, to an affirmation rather than to proof, to the repetition of a phrase rather than to arguments, to prestige rather than to competence.
The world that I should wish to see would be one freed from the virulence of group hostilities and capable of realizing that happiness for all is to be derived rather from co-operation than from strife. I should wish to see a world in which education aimed at mental freedom rather than imprisoning the minds of the young in rigid armor of dogma calculated to protect them through life against the shafts of impartial evidence.
I suppress in my prose any language which calls attention to itself.
An institution which is financed by a budget - or which enjoys a monopoly which the customer cannot escape - is rewarded for what it deserves rather than what it earns. It is paid for 'good intentions' and 'programs'. It is paid for not alienating important constituents rather than satisfying any one group. It is misdirected by the way it is being paid into defining performance and results as what will produce the budget rather than as what will produce contribution.
There's nothing worse than an ostentatious shot. Or some lighting that draws attention to itself, and you might go, 'Oh, wow, that's spectacular.' Or that spectacular shot, a big crane move, or something.
Poetry is the most direct and simple means of expressing oneself in words: the most primitive nations have poetry, but only quitewell developed civilizations can produce good prose. So don't think of poetry as a perverse and unnatural way of distorting ordinary prose statements: prose is a much less natural way of speaking than poetry is. If you listen to small children, and to the amount of chanting and singsong in their speech, you'll see what I mean.
God didn't produce a ready-made world. The Creator has done something cleverer than this, making a world able to make itself.
We do not wish to imitate nature, we do not wish to reproduce. We want to produce. We want to produce the way a plant produces its fruit, not depict. We want to produce directly, not indirectly. Since there is not a trace of abstraction in this art we call it concrete art.
I'd rather call prose poems something else, for clarity - something like "poetic prose," prose that contains a quality of poetry, but not poems.
Poetry has an indirect way of hinting at things. Poetry is feminine. Prose is masculine. Prose, the very structure of it, is logical; poetry is basically illogical. Prose has to be clear-cut; poetry has to be vague - that's its beauty, its quality. Prose simply says what it says; poetry says many things. Prose is needed in the day-to-day world, in the marketplace. But whenever something of the heart has to be said, prose is always found inadequate - one has to fall back to poetry.
It's only recently that we've discovered that the artist's inner self is somehow more important than the public world. I'm happier to create exterior pieces for the world rather than to express something I deeply feel or wish to say.
There's nothing worse than an ostentatious shot or some lighting that draws attention to itself, and you might go, 'Oh, wow, that's spectacular.' Or that spectacular shot, a big crane move, or something. But it's not necessarily right for the film — you jump out, you think about the surface, and you don't stay in there with the characters and the story.
We have an industrial base - one that, if made to take orders rather than being allowed in the vacuum of leadership to create them, if enabled by the elimination of cost-plus contracting to produce and achieve rather than waste and receive, could make something worth the cost rather than making work that costs us our dreams.
IF we desire European civilization to be a raid and a rescue, we shall insist rather that souls are in real peril than that their peril is ultimately unreal. And if we wish to exalt the outcast and the crucified, we shall rather wish to think that a veritable God was crucified, rather than a mere sage or hero. Above all, if we wish to protect the poor we shall be in favour of fixed rules and clear dogmas. The rules of a club are occasionally in favour of the poor member. The drift of a club is always in favour of the rich one.
Our coherent extrapolated volition is our wish if we knew more, thought faster, were more the people we wished we were, had grown up farther together; where the extrapolation converges rather than diverges, where our wishes cohere rather than interfere; extrapolated as we wish that extrapolated, interpreted as we wish that interpreted.
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