A Quote by Nish Kumar

I'm interested in offence and why people take offence in certain ways about certain things. — © Nish Kumar
I'm interested in offence and why people take offence in certain ways about certain things.
Mostly I'm writing about people, so I feel constrained to take with me my view of people, my curiosity about how people choose the things they do and why they come to certain decisions in a certain fashion and all the things that drive most writers.
To make punishments efficacious, two things are necessary. They must never be disproportioned to the offence, and they must be certain.
When I am at Rome I fast as the Romans do; when I am at Milan I do not fast. So likewise you, whatever church you come to, observe the custom of the place, if you would neither give offence to others, nor take offence from them.
To take offence is a great folly, and to give offence is a great folly - I know not which is the greater.
In the final exam in the Chaucer course we were asked why he used certain verbal devices, certain adjectives, why he had certain characters behave in certain ways. And I wrote, 'I don't think Chaucer had any idea why he did any of these things. That isn't the way people write.' I believe this as strongly now as I did then. Most of what is best in writing isn't done deliberately.
If you throw one stone, it’s a punishable offence. If 1,000 stones are thrown, it’s political action. If you set a car on fire, it’s a punishable offence. If hundreds of cars are set on fire, it’s political action. Protest is when I say I don’t agree with something. Resistance is when I ensure that things with which I disagree no longer take place.
I'm a very goal-oriented person in certain ways, and then in certain ways I understand that there's nothing at all that I can do about certain things. In other words, I would never set a goal that I don't have control over achieving.
If you take something out of the freezer, it's cold, but what happens when it melts? It's a cool party, a cool person, a cool collection. What does that mean? I'm more interested in things that are uncool, things that have a certain individuality, a certain soul, a certain longevity, emotion, fragility.
Now 'South Park' - they are interested in blasphemy. They're interested in creating offence for its own sake.
I don't think people saw me as a coach. But as a player I concentrated a lot on playing the game and I was always interested in the thinking side of football and speaking to managers about why they would pick a certain formation or play people in certain positions.
We forgive, we mortify our resentment; a week later some chain of thought carries us back to the original offence and we discover the old resentment blazing away as if nothing had been done about it at all. We need to forgive our brother seventy times seven not only for 490 offences but for one offence.
Certain things leave you in your life and certain things stay with you. And that's why we're all interested in movies- those ones that make you feel, you still think about. Because it gave you such an emotional response, it's actually part of your emotional make-up, in a way.
I've always been interested in why do people behave in certain ways which are crazy from a normal point of view.
May I say, if you were suddenly put into a woman's body, wouldn't you be slightly interested in your breasts, and why people look at certain parts of you, and why certain parts move like they do?
I sort of expose the truth about common misconceptions, or you know, investigate why we do certain things culturally, why we have certain traditions, and ask the question, 'is this really the best way we can be doing things?'
I think the origin of all this clamour for tonality is not so much the need to sense a relationship to the tonic, as a need for familiar chords: let us be frank and say "for the triad"; and I believe I have good reason to say that just so long as a certain kind of music contains enough such triads, it causes no offence, even if in other ways it most violently clashes with the sacred laws of tonality.
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