Top 543 Autobiography Of A Yogi Quotes & Sayings - Page 8

If you want to tell the untold stories, if you want to give voice to the voiceless, you've got to find a language. Which goes for film as well as prose, for documentary as well as autobiography. Use the wrong language, and you're dumb and blind.

Christopher Hitchens's autobiography, 'Hitch 22', is a poignant read and very interesting because I have a very poor knowledge of recent political history - or, for that matter, distant political history.

I hit adolescence only to discover my autobiography had already been written; plagiarized, in fact, by a man named J.D. Salinger who, in appropriating to himself my inner mass of pain and confusion, had given me the unlikely name of Holden Caulfield.

I was sort of on a mission with 'American Splendor.' I wanted to try to prove that comics could do things. I wanted to expand them beyond superheroes and talking animals. And I knew that was going to take a long time. But I just started writing an autobiography about my quotidian life.

I realized going back and writing and explaining in details the difficulties I had lived actually became emotional again. It's like therapy but sometimes therapy can be painful. But it's part of life and part of the autobiography so I'll have to finish it sooner or later.

'Masquerade' is the autobiography of Wyclef Jean. A lot of people know me through my work with Carlos Santana or Destiny's Child, winning all those Grammy Awards, but you do not know what is going on inside me.

My mom was big on education, big on reading, so she was always pushing books on me: 'The Autobiography of Malcolm X,' like, 'Read these books.' And it was like, man, I'm learning stuff that I just can't get anywhere else.

I wrote a little autobiography about how luck has to do with everything. It's called "My Lucky Life In and Out of Show Business." A publisher came to me and said write a book so I did. I wanted to call it "Everybody Else Has Got a Book."

So many people had been asking me to write an autobiography, or threatening to write my biography without any input from me, that I thought I'd better tell my story before other people told it for me.

A scientific autobiography belongs to a most awkward literary genre. If the difficulties facing a man trying to record his life are great - and few have overcome them successfully - they are compounded in the case of scientists, of whom many lead monotonous and uneventful lives and who, besides, often do not know how to write . . .

More and more I'm finding that I'm reading history, I'm reading biography, I'm reading autobiography for a sense of people who've been able to provide leadership. I don't read leadership books anymore.

In 1999, I had my back against the wall, and WWE had a ghostwriter working on an autobiography for me. He was halfway through, and it was awful, just boring. I took over as a way of trying to fix things, as I thought I could probably do a better job.

At 31, I decided to learn how to read and, at 32, read my first book: Lee Iacocca's autobiography. Ten years later, with my friend Larry 'Smokey' Genta, I wrote my first book, which was my proudest accomplishment.

Playing for Yogi is like playing for your father; playing for Billy is like playing for your father-in-law.

Harper Collins gave me a letter of intent saying that they want me to pen down my autobiography. When I was recollecting the incidents of my life for that, I selected only those incidents which were turning points in my life. I staged it instead of writing it.

Autobiography is awfully seductive; it's wonderful. Once I got into it, I realized I was following a tradition established by Frederick Douglass - the slave narrative - speaking in the first-person singular, talking about the first-person plural, always saying 'I,' meaning 'we.'

The re-releases have more than doubled the amount of Led Zeppelin work out there. I wanted it done authoritatively, 'cause I was the one writing the stuff; I was the producer and mixer. I don't think it's any more weird than writing your autobiography.

In this one book are the two most interesting personalities in the whole world - God and yourself. The Bible is the story of God and man, a love story in which you and I must write our own ending, our unfinished autobiography of the creature and the Creator.

I'm boggled by the idea of being an only child. I know nothing at all (I'm happy to say) about having had a cold and withholding mother, about being divorced. The more I've been writing novels, each novel I've written has become successively less grounded in anything approaching autobiography.

I have to say in premise 'Winter Journal' is really not a memoir. And I don't even think of it as an autobiography. I think of it as a literary composition - similar to music - composed of autobiographical fragments. I'm really not telling the story of my life in a coherent narrative form.

'Illustrado' is not an autobiography. Only the ideas are autobiographical; the ideas of bitterness, frustration, unchanging society, an individual lost, social awkwardness... The book satirises archetypes from across Filipino society, and I felt that the least I could do was offer myself up, too.

I always thought of writing as public, I never thought of writing a diary. I had been struck by, jolted by things I had read, and I wanted to do the same to others. I don't think it ever was the notion of an autobiography; I skipped that phase totally, I think.

One's life story cannot be told with complete veracity. A true autobiography would have to be written in states of mind, emotions, heartbeats, smiles and tears; not in months and years, or physical events. Life is marked off on the soul by feelings, not by dates.

When you are what we call a 'minority writer,' a writer of color, a writer of any kind of difference, there is some kind of presumption of autobiography in everything you produce. And I find that really maddening, and I resist that.

I wrote a little autobiography about how luck has to do with everything. It's called 'My Lucky Life In and Out of Show Business.' A publisher came to me and said, 'Write a book,' so I did. I wanted to call it 'Everybody Else Has Got a Book.'

An artist should create beautiful things, but should put nothing of his own life into them. We live in an age when men treat art as if it were meant to be a form of autobiography. We have lost the abstract sense of beauty.

But, Tarantino has seen all of my movies. He's seen my good stuff, he's seen my bad stuff, he's seen the ones I directed, he's read my autobiography. There's an awful lot of things he knows about me, all of which I think had something to do with his casting.

Quincy Jones' autobiography 'Q' is very good. Because he's a master at music, he's one of our greatest composers, and its good for him to have a book and tell the good ole days when he was with Duke Ellington, Count Basie, Sarah Vaughan and Ray Charles.

I've been working on my autobiography, just pecking away in longhand. The more you write, the more you remember. The more you remember, the more detail you recall. It's not all pleasant!

Reading any collection of a man's quotations is like eating the ingredients that go into a stew instead of cooking them together in the pot. You eat all the carrots, then all the potatoes, then the meat. You won't go away hungry, but it's not quite satisfying. Only a biography, or autobiography, gives you the hot meal.

A reflection of my feelings about the space program is found in a quotation from Charles A. Lindbergh's "Autobiography of Values." It reads, "Whether outwardly or inwardly, whether in space or time, the farther we penetrate the unknown, the vaster and more marvelous it becomes."

Well, in fact everybody - everybody - in the entire nation has enough stuff in their life to write about that's interesting that they could write their autobiography. And in the end that's why I find people interesting.

For arousing compassion, the nineteenth-century yogi Patrul Rinpoche suggested imagining beings in torment - an animal about to be slaughtered, a person awaiting execution. To make it more immediate, he recommended imagining ourselves in their place. Particularly painful is his image of a mother with no arms watching as a raging river sweeps her child away. To contact the suffering of another being fully and directly is as painful as being in the woman's shoes.

THE WORLD OF YESTERDAY is ostensibly an autobiography but in truth it is much more than that. In this remarkably fine new translation, Anthea Bell perfectly captures Stefan Zweig’s glorious evocation of a lost world, Vienna’s golden age, in which he grew up and flourished.

That is what the highest criticism really is, the record of one's own soul. It is more fascinating than history, as it is concerned simply with oneself. It is more delightful than philosophy, as its subject is concrete and not abstract, real and not vague. It is the only civilized form of autobiography.

President Obama admitted this week that a former girlfriend that he wrote about in his autobiography was made up and not a real person . . . So Obama had an imaginary girlfriend. Big deal! He had an imaginary economic plan. It’s all the same.

The trajectory of my writing has moved further and further away from autobiography. My first stories in Confessions of a Falling Woman worked familiar territory - places I had lived, people I knew, my life as an actor in New York - and many were prompted by or grounded in personal experience.

I was assigned to the Waffen-SS but was never involved in any crime. Besides, I always felt the need to write about my experiences in a larger context one day. This has only developed recently, now that I have overcome my inner aversion to writing an autobiography in the first place, specifically one having to do with my younger years.

The book is called 'Thanks for Nothing' and it's really the story of how I got into comedy and traces back every strand in my life that is relevant to that story. It's kind of an autobiography but isn't, as it stops about 25 years ago. It goes right up to the first time I do stand up.

I visited an asylum to observe expressions of the mentally disturbed and to get my body language right for the blind girl's role. I visited the blind school, read the autobiography of Helen Keller, and watched a number of films from 'Scent of a Woman' to 'Anurag,' 'Fanaa' and 'Black.'

A memoir is not an autobiography. It's a true story told as a novel, using techniques of novelization. The author is allowed to compress events, combine characters, change names, change the sequence of events, just as if he's writing a novel. But it's got to be true.

When you first start off, I know singers who have only been in the business just a short amount of time, and they've already written their autobiography. I didn't want to write it too soon. I wanted to live a while and write about things that I felt were important to me - growing up in Wales, and the characters that I met and listened to.

Of course it's fun writing about an egomaniac, but I know there are going to be reviewers who've never met me, who don't know anything about me, who are going to say this is autobiography: he's just changed the names of a few people, and the rest is totally as it was.

It is important to understand how leaders have adapted and thought about war and warfare across their careers. 'The Autobiography of General Ulysses S. Grant: Memoirs of the Civil War' is perhaps the best war memoir ever written.

A lot of guys go, 'Hey, Yog, say a Yogi-ism.' I tell 'em, 'I don't know any.' They want me to make one up. I don't make 'em up. I don't even know when I say it. They're the truth. And it is the truth. I don't know.

Maybe the yogi is a parent who's a little more patient with their child, or a more compassionate coworker, or an understanding boss. Perhaps, they pick up a piece of trash that wasn't theirs, turn off a light when they're not in the room, or turn off the water while they brush their teeth, sensitive to the finite nature of our worldly resources. When we become mindful this way, there's a ripple effect. We inspire others to do the same.

Autobiography is not important. Authenticity is important. The writer must fire herself through the text, be the molten stuff that welds together disparate elements. I believe there is always exposure, vulnerability, in the writing process, which is not to say it is either confessional or memoir. Simply, it is real.

In this one book are the two most interesting personalities in the whole world--God and yourself. The Bible is the story of God and man, a love story in which you and I must write our own ending, our unfinished autobiography of the creature and the Creator.

I have very rarely written autobiographical stuff. "Greasy Lake" and some other works have some autobiographical elements, as does "Birnam Wood," the one I chose to end [this collection] with. I lived in that house and some of my feelings are expressed in it, but it's not autobiography. It was not me and that didn't happen exactly that way.

There's something about the authenticity rather than the autobiography that makes my story and my pain move across and become your story and your pain.

In fact Sarah Palin has created more jobs than Obama has. She created eleven jobs fact-checking at the AP just for the Palin autobiography.

When a man in the process of dreaming becomes conscious that he is dreaming, he is no longer identified with the phenomena; he is not affected exultantly or dolefully. God consciously dreams His cosmic play and is unaffected by it's dualities. A yogi who perceives his real self as separate from his active senses and their objects never becomes attached to anything. He is aware of the dream nature of the universe and watches it without being entangled in its complex but ephemeral nature.

I don't like the word 'autobiography.' I rather like the term 'autofiction.' The second you make a script out of the story of your life, it becomes fictional. Of course, the truth is never far. But the story is created out of it.

I have my Grade 1 autobiography that says I'm going to the 2012 Olympic Games, and it has a picture of me on the podium. So, I've known my whole life. It's not something I just thought of. I've known I would be an Olympic athlete; didn't know what sport, but I drew myself in a judo gi.

"Moksha" is really a satire of myself. I've always been interested in Eastern spirituality. I'm particularly interested in enlightenment and the spiritual pursuit to liberate ourselves (I'm a Buddhist at heart). During my teenage years, I imagined I'd end up going to India to become a yogi; study with the last living saints in a cave; give up all my worldly possessions; learn to levitate. And there's still part of me that can see myself "disappearing" for some years at an ashram somewhere.

'The Autobiography of Malcolm X.' I've used it to demonstrate racial attitudes to people who I thought needed a better understanding of all human beings. Malcolm was not a racist. He was not looking for revenge. He realized that kindness and goodness did not come from any one kind of person.

After my stroke I put down much of the luggage of my life. I didn't have to prove anything anymore - in business, in my personal life or whatever. And now, as I work on my autobiography, I enjoy looking back, seeing the connections, the causes and effects of my life.

Autobiography should be more stringent. It should adhere more to the standards of journalism - assuming that journalism has the truth. The memoir gives you more scope, is more poetic, and allows you to play around with your own life.

I realized going back and writing and explaining in details the difficulties I had lived actually became emotional again. It's like therapy but sometimes therapy can be painful. But it's part of life and part of the autobiography so I'll have to finish it sooner or later.

You pick up loads of baggage with your first record with reaction to it from fans and critics. So I went to Ireland by myself for a couple of weeks with my guitar. I read lots of poetry, I read Patti Smith's autobiography and started words and phrases and then songs started to take shape.