A Quote by Witold Walczak

Words alone can rarely justify censorship. If we censor words themselves without looking at the context, we could shut down much of the entertainment industry. — © Witold Walczak
Words alone can rarely justify censorship. If we censor words themselves without looking at the context, we could shut down much of the entertainment industry.
'Words, Words, Words' was very much its title. It's just words, words, words and trying to show that I can pack as much material into an hour as I possibly could word count-wise.
The words 'alone,' 'lonely,' and 'loneliness' are three of the most powerful words in the English language. Those words say that we are human; they are like the words hunger and thirst. But they are not words about the body, they are words about the soul.
Words, words, words! They shut one off from the universe. Three quarters of the time one's never in contact with things, only with the beastly words that stand for them.
My music is written with one goal in mind: to improvise. It's like explaining a great story in words, but without words, much faster than you could with words. It's like a direct line of instantaneous communication where you don't have to wait for the end.
Fears, indecision, and frustration feed on words. Without words they usually stop. . . . Words are at times good for looking back, but they are confining when I need to act in the present.
The dictionary is like a time capsule of all of human thinking ever since words began to be written down. And exploring where words have come from can increase your understanding of the words themselves and expand your understanding of how to use the words, and all of this change happens in your thinking when you read the words.
These glorious things-words-are man's right alone...Without words we should know no more of each other's hearts and thoughts than the dog knows of his fellow dog....for, if you will consider, you always think to yourself in words, though you do not speak them aloud; and without them all our thoughts would be mere blind longings, feelings which we could not understand ourselves.
The question is, what are appropriate words and inappropriate words for network television, and what's the context? Was this appropriate in this context? Or are you creatively trying to find a way to use that word on the air?
The reader reads aloud, with a sing-song up … then down … then down again cadence. My mood shifts from merely reluctant to derisive. It’s a tired reading style. I’m sick of it. It attaches more importance to the words than the words themselves—as they’ve been arranged—could possibly sustain, and it gives poets and poetry a bad name.
Chinese central government doesn't need to even lead public opinion: it just selectively stops censorship. In other words, just as censorship is a political tool, so is the absence of censorship.
Kids use words in ways that release hidden meanings, revel the history buried in sounds. They haven't forgotten that words can be more than signs, that words have magic, the power to be things, to point to themselves and materialize. With their back-formations, archaisms, their tendency to play the music in words--rhythm, rhyme, alliteration, repetition--children peel the skin from language. Words become incantatory. Open Sesame. Abracadabra. Perhaps a child will remember the word and will bring the walls tumbling down.
Words are delicate instruments: How to use them so that, after having read the poem, the taste remaining is not of the words themselves, but of a thought, a situation, a parallel reality? If not used appropriately, words in poetry are like the ugly remains of food after eating. What I mean is that readers will reject words if they don't serve to shift attention from themselves to somewhere else.
The law is more easily understood by few than many words. For all words are subject to ambiguity, and therefore multiplication of words in the body of the law is multiplication of ambiguity. Besides, it seems to imply (by too much diligence) that whosoever can evade the words is without the compass of the law.
How could people like these, without words to put to their emotions and passions, manage? They could, at best, only suffer dumbly. Their pains and humiliations would work themselves out in their characters alone: like evil spirits possessing a body, so that the body itself might appear innocent of what it did.
Other people’s words are so important. And then without warning they stop being important, along with all those words of yours that their words prompted you to write. Much of the excitement of a new novel lies in the repudiation of the one written before. Other people’s words are the bridge you use to cross from where you were to wherever you’re going.
The kingdom of God is not in words. Words are only incidental and can never be fundamental. When evangelicalism ceased to emphasize fundamental meanings and began emphasizing fundamental words, and shifted from meaning to words and from power to words, they began to go down hill.
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