Top 1200 Rewriting History Quotes & Sayings - Page 5

My records have a lot of collaborators on them, and when you're writing a book, it's a very insular process that's very confusing and dark. It's a lot of writing and rewriting in a way that I don't do so much when I'm writing songs.

The challenge for a writer looking at history is to figure out what is history and what is myth. After all, what you are looking at is an interpretation of history, and so at some level, it becomes an interpretation of an interpretation.

Biographical history, as taught in our public schools, is still largely a history of boneheads; ridiculous kings and queens, paranoid political leaders, compulsive voyagers, ignorant general the flotsam and jetsam of historical currents. The men who radically altered history, the great scientists and mathematicians, are seldom mentioned, if at all.

No one can compare to Ronaldinho. I remember his plays, his dribbles. I remember him winning every title at the Camp Nou. He made history at Barca, he made history with Brazil and he's still making history.

I'm just trying to write a good story, strictly from imagination. People just think it's random, they don't see the rewriting, phrasing of characters, choosing the words, bringing the world to light in which the characters live in. That creates an illusion that this is real.

I'm not the creative one. I know that. If Rory Storm hadn't come along... and then The Beatles... I would have continued running around in teddyboy gangs. Today, well... I'd probably be a laborer. I'm glad I'm not, of course. It'll be nice to be part of history... some sort of history anyway. What I'd like to be is in school history books and be read by kids.

The way I work: I pick a country. I learn the political history - I mean I really learn it; I read until it sinks in. Once I read the political history, I can project and find the clandestine history. And then I people it with the characters.

My loves in life are food, history and rugby. I'd love to be a history professor or a rugby player but I prefer rugby and my career would end by the time I was 30, leaving me enough time to go and study history.

Muslims naturally saw Christendom as their arch rival. One point that is really important to bear in mind, particularly in addressing an American audience, and that is that the Islamic world has a very strong sense of history. In the Muslim world, history is important and their knowledge of history is not always accurate but is very detailed. There is a strong historical sense in the Muslim world, a feeling for the history of Islam from the time of the Prophet until the present day.

What experience and history teach is this - that nations and governments have never learned anything from history, or acted on any lessons they might have drawn from it. Variant: What experience and history teach is this - that people and governments never have learned anything from history, or acted on principles deduced from it.

I don't think that my work is actually effectively dealing with history. I think of my work as subsumed by history or consumed by history.

Under Ronald Reagan in the United States and Margaret Thatcher in the U.K., there was a rewriting of the basic rules of capitalism. These two governments changed the rules governing labour bargaining, weakening trade unions, and they weakened anti-trust enforcement, allowing more monopolies to be created.

Art history is fine. I mean, that's a discipline. Art history is art history, and you start from the beginning and you end up in artist in time. But art is a little bit different. Art is a conversation. And if there's no conversation, what the hell is it about?

After school, I went to Damascus to study law and history, which I didn't really like. I didn't like history, in particular. In Syria, the regime was trying to present to us a distorted version of the past. Assad was shown as the father of history. So I decided to shift to film, which was something I had always loved as a teenager.

As a writer of fiction who deals with technology, I necessarily deal with the history of technology and the history of technologically induced social change. I roam up and down it in a kind of special way because I roam down it into history, which is invariably itself a speculative affair.

I love to have real people of history interact with my fictional characters. History gives me the plot. I research the period meticulously, and then I blend in a romantic and sensual love story to give it balance. The heavier the history, the more romantic the couple must be.

I've always loved history, from my youngest memories. My father enjoyed the great stories of history, like Hereward the Wake, Robin Hood, and Richard the Lionheart, and he shared them with me. I went on to do a degree in history, though I found it rather dry, because it was mostly about politics rather than dashing individuals!

Study history, study history. In history lie all the secrets of statecraft.

I've benefited greatly from studying many effective people from history. Among those who've influenced me the most are Ronald Reagan, Theodore Roosevelt, and Winston Churchill. Each of the three altered history; each was self-created to a great extent; and each was a great student of history and leadership.

God knows nobody hated running more than me. Because I was writing and rewriting the script, I thought that I'm going to have to run because I'm going to have to know what it feels like to run.

What is history? Any thoughts, Webster?' 'History is the lies of the victors,' I replied, a little too quickly. 'Yes, I was rather afraid you'd say that. Well, as long as you remember that it is also the self-delusions of the defeated. ... 'Finn?' '"History is that certainty produced at the point where the imperfections of memory meet the inadequacies of documentation." (quoting Patrick Lagrange)

Science fiction is the most important literature in the history of the world, because it's the history of ideas, the history of our civilization birthing itself. ...Science fiction is central to everything we've ever done, and people who make fun of science fiction writers don't know what they're talking about.

By the time I am nearing the end of a story, the first part will have been reread and altered and corrected at least one hundred and fifty times. I am suspicious of both facility and speed. Good writing is essentially rewriting. I am positive of this.

Of course, all students should learn African history, as they should learn the history of other continents and major civilizations. But this history should be taught accurately and based on the best scholarship, not ideology or politics.

For everything is history: What was said yesterday is history, what was said a minute ago is history. But, above all, one is led to misjudge the present, because only the study of historical development permits the weighing and evaluation of the interrelationships among the components of the present-day society.

I try not to worry about rewriting books that worked well the first time. I'm too busy writing new books to worry about things that are already in print

The lessons of history show - and I'm not talking about any particular history, all history - when you see minor abuses start to build up in the intolerance space and do nothing about them, then they lead to bigger and bigger abuses.

The history of art is not just the history of artists; it is also the history of the people who viewed art. And that wider perspective can help us see some of the reasons why the art of the ancient world should still matter to us.

So much of the effort that goes into writing prose for me is about making sentences that capture the music that I'm hearing in my head. It takes a lot of work, writing, writing, and rewriting to get the music exactly the way you want it to be.

I have always lived in a world in which I'm just a spot in history. My life is not the important point. I'm just part of the continuum, and that continuum, to me, is a marvelous thing. The history of life, and the history of the planet, should go on and on and on and on. I cannot conceive of anything in the universe that has more meaning than that.

All history is an attempt to find pattern and meaning in a section of human experience, and every historian worthy of the name raises questions about man's ultimate destiny and the meaning of all history to which, as history, he can provide no answers. The answers belong to the realm of theology.

Art gives life to what history killed. Art gives voice to what history denied, silenced, or persecuted. Art brings truth to the lies of history.

Study history, study history. In history lies all the secrets of statecraft.

A lot of guys have had a lot of fun joking about Henry Ford because he admitted one time that he didn't know history. He don't know it, but history will know him. He has made more history than his critics ever read.

Writing by myself, I spread that out more. I'll spend more time on a song then. I'm more critical about it, because there's no one else in the room to tell me, 'That's really not translating. I'm not getting what you're saying.' So, I'm constantly rewriting it, thinking, 'No, that's fine,' and going back.

I had no interest in history classes. In fact, I used to sleep in history classes, I used to bunk classes. But that is how students are supposed to be, no? I developed an interest in history much later. I have made a few films based on historical facts.

I think we're always in the process of writing and rewriting the story of our lives, forming our experiences into a narrative that makes sense. Much of that work involves demythologizing family myths and cultural myths - getting free of what we have been told about ourselves.

The elevator shaft was a kind of heat sink. Hot food was cold by the time it arrived. Cold food got colder. No one knew what would happen to ice cream, but it would probably involve some rewriting of the laws of thermodynamics.

Rewriting isn't just about dialogue, it's the order of the scenes, how you finish a scene, how you get into a scene. All these final decisions are best made when you're there, watching. It's really enjoyable, but you've got to be there at the director's invitation. You can't just barge in and say, "I'm the writer."

Almost all the producers I know and dig, like Quincy Jones or Brian Eno, are really musicians first. I'm a composer, an orchestrator, an arranger and a musician first. I know how to write and rewrite songs, and the genius is really in the rewriting.

There are two things in Indian history - one is the incredible optimism and potential of the place, and the other is the betrayal of that potential - for example, corruption. Those two strands intertwine through the whole of Indian history, and maybe not just Indian history.

They don't really focus on that history here in America. I remember growing up as a kid, history class was very washed-over. They didn't really get into the gritty bits of slavery. It's a very, very small section in the history books. It's not something they really touch on directly with American curriculums.

I think it's important to understand Shari'a to be rooted in history - what we know about the history and what we don't know about the history. So then, if people want to argue, at least they're arguing from the same point and we know what we know, and we know what we don't know.

(on A History of Western Philosophy) I was sometimes accused by reviewers of writing not a true history but a biased account of the events that I arbitrarily chose to write of. But to my mind, a man without a bias cannot write interesting history - if, indeed, such man exists.

The Chinese government wants me to say that for many centuries Tibet has been part of China. Even if I make that statement, many people would just laugh. And my statement will not change past history. History is history.

Oh, I do a tremendous amount of rewriting. I just obsessively rewrite. Although sometimes there are sections, sometimes you're just lucky and a paragraph will just kind of come out. And that's great. But that's not ordinary in a day's work.

It is a stern fact of history that no nation that rushed to the abyss ever turned back. Not ever, in the long history of the world. We are now on the edge of the abyss. Can we, for the first time in history, turn back? It is up to you.

I don't want a Black History Month. Black history is American history.

In my office in Florida I have, I think, 30 manuscript piles around the room. Some are screenplays or comic books or graphic novels. Some are almost done. Some I'm rewriting. If I'm working with a co-writer, they'll usually write the first draft. And then I write subsequent drafts.

The president is supposed to execute faithfully the laws that the legislature has written. So, the executive orders that Barack Obama president is writing are without precedent. Without precedent so with he's rewriting law. It's totally illegal.

What they teach you as history is mythology and true mythology is far from fantasy -- it is our true history. A bulk of our real history can be found in Egyptian and Greek mythology. Yes, myths reveal to us worlds of other dimensions that make up our true reality. History books teach us that the minds of the past operated on the same frequency, dimension, or level of consciousness as we do now. Not true at all.

I never edit the songs that come out. And they tend to come out as a whole. The closest thing I have ever done to editing them is just cutting out a verse, but never rewriting lyrics.

No doubt Carlyle has a propensity to exaggerate the heroic in history, that is, he creates you an ideal hero rather than another thing.... Yet what were history if he did not exaggerate it? How comes it that history never has to wait for facts, but for a man to write it? The ages may go on forgetting the facts never so long, he can remember two for every one forgotten. The musty records of history, like the catacombs, contain the perishable remains, but only in the breast of genius are embalmed the souls of heroes.

The real invasion of South Vietnam which was directed largely against the rural society began directly in 1962 after many years of working through mercenaries and client groups. And that fact simply does not exist in official American history. There is no such event in American history as the attack on South Vietnam. That's gone. Of course, It is a part of real history. But it's not a part of official history.

I've heard - when I first started, people were saying, "You know if it ends up being Trump against [Hillary] Clinton, it's going to be the highest-rated debate in the history of television - or, show in the history of television. And they also said something else. It'll probably be the greatest voter turnout in the history of this country. That could very well be.

I try not to worry about rewriting books that worked well the first time. I'm too busy writing new books to worry about things that are already in print.

One truth stands firm. All that happens in world history rests on something spiritual. If the spiritual is strong, it creates world history. If it is weak, it suffers world history.

History is not the story of strangers, aliens from another realm; it is the story of us had we been born a little earlier. History is memory; we have to remember what it is like to be a Roman, or a Jacobite or a Chartist or even - if we dare, and we should dare - a Nazi. History is not abstraction, it is the enemy of abstraction.

I love general history. That's all I read really. I don't read novels, I read history. I love it. I live in an area that's really rich in Civil War history. I live in Kentucky on a farm. A lot of revolution, a lot of military history I love.

To trace the history of a river or a raindrop is also to trace the history of the soul, the history of the mind descending and arising in the body. In both, we constantly seek and stumble upon divinity, which like feeding the lake, and the spring becoming a waterfall, feeds, spills, falls, and feeds itself all over again.