A Quote by Samuel Beckett

I did not want to write, but I had to resign myself to it in the end. — © Samuel Beckett
I did not want to write, but I had to resign myself to it in the end.
In 2004, I took a one year sabbatical to finish my second novel, A Thousand Splendid Suns. At the end of that year, I was not done with my book, and had to in effect resign from work. I did. I never went back.
I want to tell the world of cycling to please join me in telling Pat McQuaid to resign. I have never seen such an abuse of power in cycling's history - resign, Pat, if you love cycling. Resign even if you hate the sport.
I did not myself set a high estimation on wealth, and had the affectation of most young men of lively imagination, who suppose that they can better dispense with the possession of money, than resign their time and faculties to the labour necessary to acquire it.
There’s one thing that’s been 'learned' maybe from Tunisia and Egypt that I think is a mistake. And that is that the existing ruler has to resign. He doesn’t have to resign. You take all the supports out from under him; he falls. No matter what he wants to do. This is the distinction in the analyses between nonviolent coercion in which he has to resign, but he’s forced into it, and disintegration when the regime simply falls apart. There’s nobody left with enough power to resign.
I could never really imagine myself doing one thing, and I'm pretty sure that I'll end up doing four or five different things. I want to be a Renaissance woman. I want to paint, and I want to write, and I want to act, and I want to just do everything.
I did not want to be mistreated, I did not want to be deprived of a seat that I had paid for. It was just time… there was opportunity for me to take a stand to express the way I felt about being treated in that manner. I had not planned to get arrested. I had plenty to do without having to end up in jail. But when I had to face that decision, I didn't hesitate to do so because I felt that we had endured that too long. The more we gave in, the more we complied with that kind of treatment, the more oppressive it became.
What qualified me to write about Israel was that I wanted to; it took no time to convince myself. The only reservation I had was about eaven: I wanted to write about the Jewish heaven but did not feel qualified because I did not and do not believe in 'it,' though I should.
I always try to write a song to work things out with myself and I want to do it with a little punchline at the end, because I never want to remember anything bad in my life.
I don't want anything for myself. I want everything for Afghan. I worked pro bono for 13 years. I didn't hesitate for one moment after 9/11 to resign from my position of comfort at the World Bank in New York and to come and serve.
I had some short struggle in my mind whether I should resign my lover or my liberty, but this lasted not long. I found myself as free as air and could not bear the thought of putting myself in any man's power for life only from a present capricious inclination.
I'm writing out of desperation. I felt compelled to write to make sense of it to myself - so I don't end up saying peculiar things like 'I'm black and I'm proud.' I write so I don't end up as a set of slogans and clichés.
I find that I end up liking songs if I really have an idea of something I wat to write about-some problem in my life or something I want to work through; if I don't have something like that at the root of the song, then I think I end up not caring about it as much. I gravitate towards some kind of concept or idea or situation that I want to write about. Very often I have to write, rewrite and come at it from an opposite angle...and I end up writing the opposite song that I thought I was going to write.
There is probably no greater idler than myself. And I would consider myself a lazy-bones if I did not write so many volumes, and if I did not admire my diligence once I begin writing.
I did not want to be anything, and naturally I did not want to turn myself into a mere profession: all I ever wanted was to be myself.
My parents had never been to Germany. But I knew what I didn't want to write about, and I didn't want to write about Edinburgh. A lot of writers find Edinburgh fascinating, but I never did. As a matter of fact, I couldn't wait to get away from it.
Being known as a writer did change the relationships I had with directors. The rap on actors is that they always want to inflate their parts. But when directors know you write screenplays and have a different view of things, you really get invited into the huddle in a much fuller way. And those collaborations end in friendships.
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