A Quote by Paul Theroux

It is fatal to know too much at the outcome: boredom comes as quickly to the traveler who knows his route as to the novelist who is over certain of his plot. — © Paul Theroux
It is fatal to know too much at the outcome: boredom comes as quickly to the traveler who knows his route as to the novelist who is over certain of his plot.
We define boredom as the pain a person feels when he's doing nothing or something irrelevant, instead of something he wants to do but won't, can't, or doesn't dare. Boredom is acute when he knows the other thing and inhibits his action, e.g., out of politeness, embarrassment, fear of punishment or shame. Boredom is chronic if he has repressed the thought of it and no longer is aware of it. A large part of stupidity is just the chronic boredom, for a person can't learn, or be intelligent about, what he's not interested in, when his repressed thoughts are elsewhere.
I have sometimes thought that his bursts of imaginative talk were fatal to his poetic gift. He squandered too much in the heat of personal communication.
Take comfort, and recollect however little you and I may know, God knows; He knows Himself and you and me and all things; and His mercy is over all His works.
Your true traveller finds boredom rather agreeable than painful. It is the symbol of his liberty - his excessive freedom. He accepts his boredom, when it comes, not merely philosophically, but almost with pleasure.
When a man is a Traveler, the world is his house & the sky is his roof, where he hangs his hat is his home, & all the people are his family
[A]nother important difference between tourist and traveler is that the former accepts his own civilization without question; not so the traveler, who compares it with the others, and rejects those elements he finds not to his liking.
Not one of the orthodox ministers dare preach what he thinks if he knows a majority of his congregation think otherwise. He knows that every member of his church stands guard over his brain with a creed, like a club, in his hand. He knows that he is not expected to search after the truth, but that he is employed to defend the creed. Every pulpit is a pillory, in which stands a hired culprit, defending the justice of his own imprisonment.
None will ever be a true Parisian who has not learned to wear a mask of gaiety over his sorrows and one of sadness, boredom, or indifference over his inward joy.
We can never learn too much of His will towards us, too much of His messages and His advice. The Bible is His word and its study gives at once the foundation for our faith and an inspiration to battle onward in the fight against the tempter.
The artist alone among men knows what true humility means. His reach forever exceeds his grasp. He can never be satisfied with his work. He knows when he has done well, but he knows he has never attained his dream. He knows he never can.
No man learns to know his inmost nature by introspection, for he rates himself sometimes too low, and often too high, by his own measurement. Man knows himself only by comparing himself with other men; it is life that touches his genuine worth.
The fundamental problem in the evangelical world today is that God rests too inconsequentially upon the church. His truth is too distant, His grace is too ordinary, His judgment is too benign, His gospel is too easy, and His Christ is too common.
It may be that one of our great faults in prayer is that we talk too much and listen too little. When prayer is at its highest we wait in silence for God's voice to us; we linger in His presence for His peace and His power to flow over us and around us; we lean back in His everlasting arms and feel the serenity of perfect security in Him.
He who sees different ways to the same end, will, unless he watches carefully over his own conduct, lay out too much of his attention upon the comparison of probabilities and the adjustment of expedients, and pause in the choice of his road, till some accident intercepts his journey.
Morality for the novelist is expressed not so much in the choice of subject matter as in the plot of the narrative, which is perhaps why in our morally bewildered time novelists have often been timid about plot.
I loved you!” he yelled. He jumped up out of his chair so quickly I never saw it coming. “I loved you, and you destroyed me. You took my heart and ripped it up. You might as well have staked me!” The change in his features also caught me by surprise. His voice filled the room. So much grief, so much anger. So unlike the usual Adrian. He strode toward me, hand clasped over his chest. “I. Loved. You. And you used me the whole time.
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