A Quote by Raymond Moody
Dying, we tell ourselves, is like going to sleep. This figure of speech occurs very commonly in everyday thought and language, as well as in the literature of many cultures and many ages. It was apparently quite common even in the time of the ancient Greeks.
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There is something false in this search for a purely feminine writing style. Language, such as it is, is inherited from a masculine society, and it contains many male prejudices. We must rid language of all that. Still, a language is not something created artificially; the proletariat can't use a different language from the bourgeoisie, even if they use it differently, even if from time to time they invent something, technical words or even a kind of worker's slang, which can be very beautiful and very rich. Women can do that as well, enrich their language, clean it up.
Well, it is all over now. The battle is lost, and many of us are prisoners, many are dead, many wounded, bleeding and dying. Your Soldier lives and mourns and but for you, my darling, he would rather, a million times rather, be back there with his dead, to sleep for all time in an unknown grave.
Sleep paralysis is something that is actually very common. Many people have it, I've had it myself. And what happens is, when you're in that REM stage of sleep, your brain is very active. You're dreaming your most during that stage, you're mind, your eyes are moving, there's a lot going on. It's like fireworks going on in your brain.
Psychological factors are vital. We don't learn how to improve our emotional intelligence. Even in ancient cultures, such as the Greeks, cultivation of the art of being able to enter a state of awareness that is deeply blissful, and beyond thought and feeling as such. Many people have become disillusioned with religions and, as such, have turned away from pursuing anything spiritual. That create a loss of sense of purpose and a lot of anger. Sure, there are all sorts of problems with organised religions, but there are also all sorts of problems with the world of 'science' too.
In many other cultures, and certainly in the Eastern world, there's great value put on being, contemplating, and even withdrawing from the world at certain times or for certain periods of time. But we don't really have that in our culture, so it's difficult for many Westerners to learn how to sit down or lie down and just be quiet without going to sleep. We're just not trained to do it.
Football fans share a universal language that cuts across many cultures and many personality types. A serious football fan is never alone. We are legion, and football is often the only thing we have in common.
I don't particularly care about having [my characters] talk realistically, that doesn't mean very much to me. Actually, a lot of people speak more articulately than some critics think, but before the 20th century it really didn't occur to many writers that their language had to be the language of everyday speech. When Wordsworth first considered that in poetry, it was considered very much of a shocker. And although I'm delighted to have things in ordinary speech, it's not what I'm trying to perform myself at all: I want my characters to get their ideas across, and I want them to be articulate.
Literature transforms and intensifies ordinary language, deviates systematically from everyday speech.
It's not as though there aren't many, many art works and many other cultures, but there was something special about the civic nature of the Greek theater. All the citizens stopped working. They came into these theaters. It wasn't like a Broadway theater where you sit in the dark and you expect to be passively entertained. You're in this theater, amphitheater, in bright sunlight looking at your fellow citizens, recognizing their faces, and thinking with them about the future of your city. I think very few cultures have had a theatrical tradition that is quite so civic.
If anything is scary about my writing, it's that it's the product of a very particular vision and doesn't reference common speech that heavily. By 'common speech,' I don't mean language as much as an agreed-on way of seeing, or a shorthand.
I work in Hebrew. Hebrew is deeply inspired by other languages. Not now, for the last three thousand years, Hebrew has been penetrated and fertilized by ancient Semitic languages - by Aramaic, by Greek, by Latin, by Arabic, by Yiddish, by Latino, by German, by Russian, by English, I could go on and on. It's very much like English. The English language took in many many fertilizations, many many genes, from other languages, from foreign languages - Latin, French, Nordic languages, German, Scandinavian languages. Every language has influences and is an influence.
Tahiti has been spoiled for many years, but Bali is one of the few cultures with origins in one of the great ancient cultures which is still alive.
All language begins with speech, and the speech of common men at that, but when it develops to the point of becoming a literary medium it only looks like speech.
Max [Landis] writes in quite a heightened way, specifically for Dirk. There's a rhythm and a specific speed to it, and it was very easy to learn because it was so well-written. It just rolled off the tongue. There aren't many auditions that I go for, where I feel like I could actually do the part. But with this one, even though I was not quite sure how to pin Dirk down, I thought I could do it.
The United States is enriched by many cultures, and united by a single common language.
The Grecian’s maxim would indeed be a sweeping clause in Literature; it would reduce many a giant to a pygmy; many a speech to a sentence; and many a folio to a primer.
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