A Quote by Haruki Murakami

Well, finally, the events I've been through have been tremendously complicated. All kinds of characters have come on the scene, and strange things have happened one after another, to the point where, if I try to think about them in order, I lose track.
There is one sure way to identify your greatest potential for strength: Step back and watch yourself for a while. Try an activity and see how quickly you pick it up, how quickly you skip steps in the learning and add twists and kinks you haven't been taught yet. See whether you become absorbed in the activity to such an extent that you lose track of time. If none of these has happened after a couple of months, try another activity and watch-and another. Over time your dominant talents will reveal themselves, and you can start to refine them into a powerful strength.
It changes from track-to-track, but when you are behind someone, you know after a few laps where they are weaker and stronger around the lap. You try to position yourself in the best possible way to attack them at a point they don't expect or at the point that they are just not as strong as you. That's how you try to get past.
When I am in a painting, I'm not aware of what I'm doing. It is only after a sort of 'get acquainted' period that I see what I have been about. I have no fears about making changes, destroying the image, etc, because the painting has a life of its own. I try to let it come through. It is only when I lose contact with the painting that the result is a mess. Otherwise there is pure harmony, an easy give and take, and the painting comes out well.
How did I end up right here wit you after all the things that I been through. It's been one of those days you try and forget about take a shot and let it out.
Young people, our rights and the things we care about, have been taken away because it doesn't really matter to the politicians whether or not we have them. We're just another demographic to try and please, but there's no point if we aren't voting.
That was sheer luck that it [being immersed into folk scene] happened when my voice began to develop. I don't know exactly what would have happened if I hadn't been alive and well and really lively in the Cambridge scene. But (the folk scene) was, and I fell into it absolutely naturally in the little coffee shops, and pretty soon it was Newport and then it was an overwhelming response internationally, actually.
Our lives are structured by our memories of events. Event X happened just before the big Paris vacation. I was doing Y in the first summer after I learned to drive. Z happened the weekend after I landed my first job. We remember events by positioning them in time relative to other events.
The people who move through the streets are all strangers. At each encounter, they imagine a thousand things about one another; meetings which could take place between them, conversations, surprises, caresses, bites. But no one greets anyone; eyes lock for a second, then dart away, seeking other eyes, never stopping...something runs among them, an exchange of glances like lines that connect one figure with another and draw arrows, stars, triangles, until all combinations are used up in a moment, and other characters come on to the scene.
Since 1970, I've been using text and ephemera as well as photographs in order to tell stories of one kind or another. There's a thread that runs through all the work that is to do with bearing witness. The photographs are about asking questions, though, not answering them.
"OK, well everyone makes a mistake, right?" But then when you think it probably happened again that's when you think: "Shame on you once and shame on me twice, or however that saying goes." But everyone's been down that road. It's not about the little things anymore, but the major things that tell you if you don't move on at that point then I'm a fool.
Many of the things that have happened in the laboratory have happened in ways it would have been impossible to foresee, but not impossible to plan for in a sense. I do not think Dr. Whitney deliberately plans his serendipity but he is built that way; he has the art-an instinctive way of preparing himself by his curiosity and by his interest in people and in all kinds of things and in nature, so that the things he learns react on one another and thereby accomplish things that would be impossible to foresee and plan.
Yes, things happened to me - brutal things - but I'm not going to give them so much clout by dwelling on them, empowering them to haunt my heart years after the events transpired. And no good comes from that. These ghosts don't need us to help them stay alive. If we're after real deal healing, these ghosts must desiccate.
There's lots of things you don't know. All kinds of strange things . . . mostly they happened before we were born: that makes them seem to me so much more real.
Well, at this point, it looks like the Iraqi forces are moving into the city center itself. Now they've been working on this for seven months now. The American military's been pushing them and encouraging them to really get into the city and rout ISIS. So now they're finally doing it.
After Leaving Las Vegas I did assume that things would get a lot easier than they've been. But it's just been a mirror of the way my career's been from the beginning, so for it to have changed would have been strange. My career has never been perfect.
I've been tremendously lucky. I went through things that turned out wrong, and I got myself out of them.
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