A Quote by Ted Dekker

What matters is discovering myself under the veneer, under the layers that are wrapped around me. There are two 'yous'; there's 'you', the real you, and then there's the image.
I have to strip away all the layers when I'm writing the song. I have to cut through all these layers of years of putting up walls and putting protective layers around myself.
There has to be some mystery in life, because the joy of being a writer and the joy of being a musician is the joy of discovery. I don't want someone discovering for me what I should be discovering on my own. If a person is discovering for me, then they're living for me. It's my responsibility, indeed it's my privilege, to go out and discover the world for myself.
Spaces may or may not invite the image - if they do, they mostly do it with their spatial layers of time... It is then the image that takes the place of the space; the image in its own right.
I like to keep myself wrapped in layers of sleep and wait for the geraniums.
And I felt more like me than I ever had, as if the years I'd lived so far had formed layers of skin and muscle over myself that others saw as me when the real one had been underneath all along, and I knew writing- even writing badly- had peeled away those layers, and I knew then that if I wanted to stay awake and alive, if I wanted to stay me, I would have to keep writing.
Everything in Louisiana is about layers. There are layers of race, layers of class, layers of survival, layers of death, and layers of rebirth. To live with these layers is to be a true Louisianian. This state has a depth that is simultaneously beyond words and yet as natural as breathing. How can a place be both other-worldly and completely pedestrian is beyond me; however, Louisiana manages to do it. Louisiana is spooky that way.
I make one image—though 'make' is not the right word; I let, perhaps, an image be 'made' emotionally in me and then apply to it what intellectual & critical forces I possess—let it breed another, let that image contradict the first, make, of the third image bred out of the other two together, a fourth contradictory image, and let them all, within my imposed formal limits, conflict.
If you've noticed that I don't use long takes, it's not because I don't like them, but because no one gives me the necessary means to treat myself to them. It's more economical to make one image, then this image and then that image, and try to control them later, in the editing studio.
I was an onion, layers and layers and layers under a thin, papery skin. If anyone had been able to cut me open, my bitter, irritating juices would have stung their eyes, and they would have cried. Although I couldn't cry myself, much at the time. But no one would cut me open.
If nothing matters, then even the thought that nothing matters doesn't matter. And if it doesn't matter whether anything matters or not, then there's no real difference between believing nothing matters and believing something matters.
When i was younger I was much more self focussed. I was worried about my self-image. I thought I was too fat. I was very critical of myself, and then I met and got to know and understand my husband. He helped me turn myself around. He had such a positive attitude towards life.
I try not to let myself get too wrapped up in the image of whatever my books have become in the outside world.
Shelley Jackson's 'Half Life' is the textual equivalent of an installation, a multivocal, polymorphous, dialogic, dystopian satire wrapped around a murder mystery wrapped around a bildungsroman.
I buried everything under layers and layers and layers of code, but the signifiers of my emotionality were there, for me.
When I used to perform weddings, the image I always had was the image of a triangle, in which there are two partners and then there is this third force, this third being, that emerges out of the interaction of these two. The third one is the one that is the shared awareness that lies behind the two of them.
If being open and honest with my customers is naive then it's fine with me. CEOs who hide behind that all-seeing, all-knowing veneer are playing a game anyway, it's not real. I am quite happy to be seen for who I am.
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