A Quote by Bernard Baruch
I get the facts, I study them patiently, I apply imagination.
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If you intend to study the mind, you must have systematic training; you must practice to bring the mind under your control, to attain to that consciousness from which you will be able to study the mind and remain unmoved by any of its wild gyrations. Otherwise the facts observed will not be reliable; they will not apply to all people and therefore will not be truly facts or data at all.
Patiently and with industry did I apply myself to study, for although I felt the impossibility of giving life to my productions, I did not abandon the idea of representing nature.
Facts are simple and facts are straight. Facts are lazy and facts are late. Facts all come with points of view. Facts don't do what I want them to. Facts just twist the truth around. Facts are living turned inside out.
I certainly incorporate facts into my fiction. I take the basic facts from the life of my subject and I pick and choose what to use to construct a really interesting novel. I don't let facts get in the way of my imagination and my exploration of the subject's emotions and relationships.
We apply law to facts. We don't apply feelings to facts.
Imagination helps you to recognize the reality of facts, but then to go beyond them, to penetrate beneath them, to rise above them in your search for creative answers to problems. Imagination "stirs up the gift of God in thee." Through your imagination you touch and express the inspiration of the Infinite. Imagination, in the words of Shakespeare, "gives to airy nothing a local habitation and a name." You reach into the heavens to grasp an idea, then you bring it down to earth and make it work.
I invite you to read again the full accounts of this inspired vision. Study them, ponder them, and apply them to your daily life. In modern terms we might say we are invited to "get a grip." We must hold on tight to the iron rod and never let go.
The only way to study the mind is to get at facts, and then intellect will arrange them and deduce the principles.
Why does a literary scholar study the world of "fiction"? To show us that the facts can never be understood except in communion with the imagination.
There are some advantages to being a writer: you do generally get better as you get older. I think I understand things better. When I was a kid, I was kind of guessing at the emotion. Now I'm interested in writing more difficult books, books that confront the facts of life, of death and dying and failure - the majority of life. You write outwardly imaginative books when you're younger. When you're older you apply imagination to internal experience.
A writer need not devour a whole sheep in order to know what mutton tastes like, but he must at least eat a chop. Unless he gets his facts right, his imagination will lead him into all kinds of nonsense, and the facts he is most likely to get right are the facts of his own experience.
The Clinton investigation was a completed investigation that the FBI had been deeply involved in, so I had an opportunity to understand all the facts and apply those facts against the law as I understood them. This investigation was under way - still going when I was fired. So it's nowhere near in the same place.
Capablanca did not apply himself to opening theory (in which he never therefore achieved much), but delved deeply into the study of end-games and other simple positions which respond to technique rather than to imagination.
My approach to deciding cases is I look at the law, I look at the facts, and I do my best to apply the law to the facts and make a decision based on the law and the facts.
I am beginning to believe that nothing can ever be proved. These are honest hypotheses which take the facts into account: but I sense so definitely that they come from me, and that they are simply a way of unifying my own knowledge. Not a glimmer comes from Rollebon's side. Slow, lazy, sulky, the facts adapt themselves to the rigour of the order I wish to give them; but it remains outside of them. I have the feeling of doing a work of pure imagination.
But facts are facts, and if we only get enough of them theyare sure to combine.
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