A Quote by Ray Bradbury
...if you are writing without zest, without gusto, without love, without fun, you are only half a writer. It means you are so busy keeping one eye on the commercial market, or one ear peeled for the avant-garde coterie, that you are not being yourself. You don't even know yourself. For the first thing a writer should be is-- excited. He should be a thing of fevers and enthusiasms.
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The first thing a writer should be is - excited. He should be a thing of fevers and enthusiasms. Without such vigor, he might as well be out picking peaches or digging ditches; God knows it'd be better for his health.
Muscles without strength, friendship without trust, opinion without risk, change without aesthetics, age without values, food without nourishment, power without fairness, facts without rigor, degrees without erudition, militarism without fortitude, progress without civilization, complication without depth, fluency without content; these are the sins to remember.
Real Freedom is to not feel limited when wearing this Zen robe, this troublesome formal robe. Similarly, in our busy life we should wear this civilization without being bothered by it, without ignoring it, without being caught by it.
Boredom!!! Shooting!!! Shelling!!! People being killed!!! Despair!!! Hunger!!! Misery!!! Fear!!! That's my life! The life of an innocent eleven-year-old schoolgirl!! A schoolgirl without a school, without the fun and excitement of school. A child without games, without friends, without the sun, without birds, without nature, without fruit, without chocolate or sweets, with just a little powdered milk. In short, a child without a childhood.
Conversation should be pleasant without scurrility, witty without affectation, free without indecency, learned without conceitedness, novel without falsehood.
Love yourself-accept yourself-forgive yourself-and be good to yourself, because without you the rest of us are without a source of many wonderful things.
He was a foe without hate; a friend without treachery; a soldier without cruelty; a victor without oppression, and a victim without murmuring. He was a public officer without vices; a private citizen without wrong; a neighbor without reproach; a Christian without hypocrisy, and a man without guile. He was a Caesar, without his ambition; Frederick, without his tyranny; Napoleon, without his selfishness, and Washington, without his reward.
The ear is the only true writer and the only true reader. I know people who read without hearing the sentence sounds and they were the fastest readers. Eye readers we call them. They get the meaning by glances. But they are bad readers because they miss the best part of what a good writer puts into his work.
Poets these days, like artists and composers, have won for themselves almost unlimited freedom. You can pass yourself off as a painter without being able to draw, as a composer without being conscious of key relationships, and as a poet without making yourself familiar with traditional verse forms.
The thing I was beginning to figure out about Sam and Grace, the thing about Sam not being able to function without her, was that that sort of love only worked when you were sure both people would always be around for each other. If one half of the equation left, or died, or was slightly less perfect in their love, it became the most tragic, pathetic story invented, laughable in its absurdity. Without Grace, Sam was a joke without a punch line.
The only real reason for self-referencing is the fun factor. It's fun for the writer, getting little peeks at what old characters might be up to. And it's fun for readers to spot a familiar face, or pick up on a made-up book title or something from an earlier story. I don't know that it does -- or even should -- contribute to the story in hand being any better than it would have been without it.
Only when your hearts are empty of the things of the mind, is there love. Then you will know what it is to love without separation, without distance, without time, without fear.
The selective instinct of the artist tells him when his language should be homely, and when it should be more elevated; and it is precisely in the imperceptible blending of the plain with the ornate that a great writer is distinguished. He uses the simplest phrases without triviality, and the grandest without a suggestion of grandiloquence.
I want to love you without clutching, appreciate you without judging, join you without invading, invite you without demanding, leave you without guilt, criticize you without blaming, and help you without insulting. If I can have the same from you, then we can truly meet and enrich each other.
A cathedral without windows, a face without eyes, a field without flowers, an alphabet without vowels, a continent without rivers, a night without stars, and a sky without a sun—these would not be so sad as a . . . soul without Christ.
Genius is neither learned nor acquired. It is knowing without experience. It is risking without fear of failure. It is perception without touch. It is understanding without research. It is certainty without proof. It is ability without practice. It is invention without limitations. It is imagination without boundaries. It is creativity without constraints. It is...extraordinary intelligence!
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