A Quote by Harriet Tubman
In my dreams and visions, I seemed to see a line, and on the other side of that line were green fields, and lovely flowers, and beautiful white ladies, who stretched out their arms to me over the line, but I couldn't reach them no-how. I always fell before I got to the line.
Related Quotes
In my mind, I see a line. And over that line, I see green fields and lovely flowers and beautiful, white women with their arms stretched out to me over that line, but I can't seem to get there no how. I can't seem to get over that line.
General, if you put every Union soldier now on the other side of the Potomac on that field to approach me over the same line, I will kill them all before they reach my line.
Sometimes, as a comedian, a line will come to you, that is so beautiful, so perfect, that you think: I did not create this line. This line belongs to all of us. Surely this is a line of God
Sometimes, as a comedian, a line will come to you, that is so beautiful, so perfect, that you think: I did not create this line. This line belongs to all of us. Surely this is a line of God.
People think of time as a continuum composed of points which is stretched out at a line, and even if you add a direction to it and say one direction on the line is past and the other direction is future, or better, one direction is "earlier than" and the other direction is "later than", you're still thinking of it as like a geometrical line which is stretched out rather than as a dynamic process of becoming.
Marvin Bell always looked very closely at how lines could break, how you could put over one line into the second line. How you could stop the line two or three times within the line: You could make it stop.
I've got evil in me as much as anyone, some desires that scare me. Even if I don't give in to them, just having them scares the living bejesus out of me sometimes. I'm no saint, the way you kid about. But I've always walked the line, walked that goddamned line. It's a mean mother of a line, straight and narrow, sharp as a razor, cuts right into you when you walk it long enough. You're always bleeding on that line, and sometimes you wonder why you don't just step off and walk in the cool grass.
I've always tried to walk a line between being incisive and acerbic, but not mean. Sometimes I'm going to tip over the line a little bit, but that's usually a line I try not to cross.
I'd love to have a shoe line, or a sunglasses line, or a purse line. Who am I kidding, I'd like to have an everything line!
I've always gone with Kafka's model of establishing the world from the first line, as in Kafka's famous line from Metamorphosis, "Gregor Samsa woke up from uneasy dreams to find himself transformed into a gigantic insect" (or beetle or cockroach, depending on the translation). I have to have that first line before I can go further.
I think it was Tommy who told me, 'When your song is called 'XYZ' or whatever, every line has got to make sense against your title.' He showed me little methods of proving to yourself whether the line belongs, and ways of finding out whether you were able to get more out of a line if you tried.
The straight line is godless and immoral. The straight line is not a creative line, it is a duplicating line, an imitating line.
Even when there's not a joke or a hook, the first line has to be good and snapem to attention. Songs ain't novels. You don't have 30 pages to slowly wrap somebody in. They're more like short stories or poems. If the first line hasn't grabbed them, you won't get to the second line. Once you've developed an audience, you may have some luxury and trust, so you don't have to knock 'em over the head with line one.
I do everything by hand... Even if I'm doing really big letters and I spend a lot of time going over the line and over the line and trying to make it straight, I'll never be able to make it straight. From a distance it might look straight, but when you get close up, you can always see the line waver. And I think that's where the beauty is.
A song doesn't happen as a whole verse; it happens linearly, line by line, almost word by word, phrase by phrase. And if each phrase, each line, has a proper emotional feel and connects to the line before it and the line after it, the song will be doing what it should be doing.
The image people have of comedians staring defiantly over a stationary line of good taste is simply inaccurate. We don't approach this line, put our toes over it arrogantly and then scamper back to safety. The line doesn't exist.
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