A Quote by Catherine Brady
I love the way a story's ending can force you to read backwards. It's as if you are slowly adjusting a kaleidoscope until a random scattering of colored crystals suddenly falls into a beautiful symmetrical pattern.
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We don't know how much we are capable of loving until the people we love are being taken away, until a beautiful story is ending.
The libertarian approach is a very symmetrical one: the non-aggression principle does not rule out force, but only the initiation of force. In other words, you are permitted to use force only in response to some else's use of force. If they do not use force you may not use force yourself. There is a symmetry here: force for force, but no force if no force was used.
Probably a good idea, let me know how it ends" "I already know how it ends" "You read the ending first?" "I always read the ending before I commit to the whole book." "If you know how it ends, why read the book?" "I don't read for the ending. I read for the story".
Rollerball is an incoherent mess, a jumble of footage in search of plot, meaning, rhythm and sense. There are bright colors and quick movement on the screen, which we can watch as a visual pattern that, in entertainment value, falls somewhere between a kaleidoscope and a lava lamp.
Wakolda or The German Doctor is a very intimate story. It is the story of a teenage girl and the way she falls in love with a monster. It is the story of a hunt and of a seduction.
By definition, revolutions are not linear, one step at a time, event A leading to event B, and so on. Many causes operate on each other at once. Revolutions shift into place suddenly, like the pattern in a kaleidoscope. They do not so much proceed as crystallize.
I've been in love and it doesn't last. And when it's over, it's hell for a while. And then one discovers that life goes on. Eventually, one falls in love again. This pattern repeats itself until one is too jaded to believe in it anymore, or too old for all the upheaval.
You don't really have a story until you discover the moment when the pressures on a character force a sudden, abrupt shift in direction and she falls through the net that has so far held her in place.
To come up with the ending to a story and then work backwards is like tying your shoe with one hand only.
Tell me a story, Pew. What kind of story, child? A story with a happy ending. There’s no such thing in all the world. As a happy ending? As an ending.
I write the last line, and then I write the line before that. I find myself writing backwards for a while, until I have a solid sense of how that ending sounds and feels. You have to know what your voice sounds like at the end of the story, because it tells you how to sound when you begin.
Seasons may change winter to spring, but I love you until the end of time Come what may, come what may, I will love you until my dying day Suddenly the world seems such a perfect place Suddenly it moves with such a perfect grace Suddenly my life doesn’t seem such a waste, it all revolves around you. And there’s no mountain too high no river too wide Sing out this song and I’ll be there by your side Storm clouds may gather and stars may collide But I love you until the end of time
My love for you has no depth, its boundaries are ever-expanding. My love and my life with you will be a never-ending story. My love with you is never-ending
All human behavior, all human motivations, all man’s hopes and fears, were heavily colored and largely controlled by mankind’s tragic and oddly beautiful pattern of reproduction.
But the people who took the bus didn't experience the city as we experienced the city. The pain made the city more beautiful. The story made us different characters than we would have been if we had skipped the story and showed up at the ending an easier way.
I see her as a series of marvellous shapes formed at random in the kaleidoscope of desire.
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