Top 104 Raymond Quotes & Sayings - Page 2

Some writers such as John Cheever and Raymond Carver seem to draw artistic energy from analyzing the realm of their own experiences - their social circles and memories and mores. I'm one of those who draw creative energy from the opposite.

Some of the greatest shows in history - 'Seinfeld,' 'Everybody Loves Raymond' and 'House' - had puny starts but the benefit of schedule protection, increasingly scarce in today's DVR world. Cable nets can tolerate small ratings, building hits in progress like 'Breaking Bad,' or marathon their way to a 'Duck Dynasty.'

At the time, I used to say, "We should market this like Everybody Loves Raymond. It's just a guy dealing with his family." Instead, it was irresistible to show all these funny people. So, I actually think this could be more inviting to a new audience because they can just watch one character, find out what's going on in his life, and then meet another character and find out what's going on in her life, and then see how it intersects the other one.

My father taught me to love detective fiction writers such as Raymond Chandler. When I decided to have a hard-boiled detective series I did a lot of studying before I wrote the first book. I learned police procedure, the California criminal law, and many areas outside my expertise.

From a literary standpoint, I've been loving Raymond Carver's short stories, William Carlos Williams' poems, Richard Siken's 'Crush', John Fante, and Jim Harrison's book of ghazals. I love film and photography too, so many of my songs are very image rich from those influences.

My dad read, I think, the Perry Mason mysteries and Zane Grey and some humor compendiums... And then at one point, the bookmobile started coming to town. That was really cool. I mean, that was when I read my first Raymond Carver story. I think that was probably 1969 or so. I must have been 13.

The same issue is happening on a show like Everybody Loves Raymond now, which is in its eighth year and struggling to come up with good stories. It'll be interesting to see how they do. The bottom line is, it starts with the writers and ends with the writers.

I love fiction. I like reading short stories. Cupcakes, pop songs, Polaroids, and short stories. They all raise and answer questions in a short space. I like Lorrie Moore. Amy Hempel. Tim O'Brien. Raymond Carver. All the heartbreakers.

[Raymond Roussel] said that after his first book he expected that the next morning there would be a kind of aura around his person and that everyone in the street would be able to see that he had written a book. This is the obscure desire harboured by everyone who writes. It is true that the first text one writes is neither written for others, nor because one is what one is: one writes to become other than what one is. One tries to modify one's way of being through the act of writing.

I put myself on tape and the cool thing was that Martin Scorsese had never heard of me. He had never seen [Everybody Loves Raymond]. I was just an unknown actor to him. I don't want to sound conceited, like he has to know who I am, but that seemed a little odd. He's a film genius. He doesn't watch sitcoms.

One of the best and most challenging books about Orwell is by the socialist literary critic Raymond Williams. As a critic - and, in some ways, as a figure, at least within the academy - Williams was what England had in the generation after Orwell, and toward the end of his life, he became more critical of his predecessor.

I definitely have an affection for detective fiction, and when I first read Dashiell Hammett's 'The Maltese Falcon,' that book and its author made an enormous impression on me as a reader and a writer, and led me to other hard-boiled American writers like Raymond Chandler and Ross McDonald, among many.

John Dos Passos, Raymond Carver, Flaubert and William Maxwell were all very influential when I first started writing. Now, the writers I'm most interested in are the writers who are most unlike me: for example, Denis Johnson.

Truth as a cultural ideal has functioned as an opiate, perhaps the only serious opiate of the modern world. Karl Marx said that religion was the opiate of the masses. Raymond Aron retorted that Marxist ideas were in turn the opiate of the intellectuals. There is perspicacity in both these polemical thrusts. But is perspicacity truth? I wish to suggest that perhaps truth has been the real opiate, of both the masses and the intellectuals.

Of course, you've got Lyoto Machida. He's definitely a karate guy and he's made a big presence in MMA. I would say look up Lyoto Machida. There are some other karate guys who are phenomenal at what they do at their karate game, the point fighting game, Raymond Daniels, who is an amazing point fighter and very flashy.

I read a lot of science fiction, but I also mixed it up with a lot of other genres: crime, literary fiction, as well as nonfiction. Author-wise, I'm a fan of Stephen King, Lauren Beukes, Robert McCammon, Raymond Chandler, Greg Rucka, Ed Brubaker and Gail Simone, among many others.

I am really into how words sound out loud, so I was always the kid who would, like, read the page of the book to herself in her room over and over and over. And Raymond Carver is great for that. Tobias Wolff is an author who is really good for that as well.

I would be writing and trying to write like Joan Didion. Or if I was reading Raymond Carver. You know, strong stylists. But that's how you find your voice, is imitating other people. So things like that didn't embarrass me, because I thought, well, that's how it goes. That's how everyone learns.

I sometimes fee like the spirit of the past resurrected... After all, didn't cultural studies emerge somewhere at that moment when I first met Raymond Williams or in the glance I exchanged with Richard Hoggart? In that moment, cultural studies was born. It emerged full grown from my head!

I truly believe that we're about to enter a second golden age of design. The first one was in the '50s and '60s, when designers like Raymond Loewy, Charles Eames, George Nelson and Dieter Rams were shepherds of the brands they were working with. They had influence over the products and how companies communicated and promoted themselves.

You might learn as much about how to write by reading Shakespeare, Tolstoy, Wallace Stevens, Raymond Chandler, Saul Bellow, Paul Muldoon or a hundred other good novelists or poets than by seeing another round of John Ford revivals.

I wrote my graduate thesis at New York University on hard-boiled fiction from the 1930s and 1940s, so, for about two years, I read nothing but Raymond Chandler, Dashiell Hammett, James Cain and Chester Himes. I developed such a love for this kind of writing.

What people like are things to laugh at. Funny shows. It's all in the execution, the writing and the characters, not the setting. And the writing and the execution and the characters are GREAT on (Everybody Loves Raymond).

I'm interested in dismantling the distinction between masculine and feminine writing both because I think it's a false distinction and, I think, ultimately an insulting one. It's as insulting to men as it is to women. I'm not sure what masculine writing would look like - I assume some combination of Ernest Hemingway and Raymond Carver. Writing can't be gendered in that way.

That became my aesthetic - a very Chekhovian, American realist aesthetic in the tradition of Raymond Carver, Richard Ford, and Tobias Wolff. The perfectible, realist story that had these somewhat articulate characters, a lot of silence, a lot of obscured suffering, a lot of manliness, a lot of drinking, a lot of divorces. As my writing went on, I shed a lot of those elements.

There were internal critics, sharp critics, who were very opposed to [Malcolm X], and who were very - some of them were members of Elijah Mohammad's family, such as Herbert Mohammad, Raymond Shareef, who was the head of the Fruit of Islam, the brother-in-law of - the son-in-law of Elijah Mohammad. They isolated Malcolm X and kept him out of the newspaper of the organization Mohammad Speaks for over a year, which is kind of curious.

As a teenager, I read a lot of H.P. Lovecraft, so I wrote like H.P. Lovecraft. And in my 20s, I read a lot of Ross Macdonald and Raymond Chandler, so I wrote like those guys. But, little by little, you develop your own style.

I used to do my best thinking while staring out airplane windows. The seat-back video system put a stop to that. Now I sit and watch old' Friends' and 'Everybody Loves Raymond' episodes. Walking is good, but here again, technology has interfered. I like to listen to iTunes while I walk home. I guess I don't think anymore.

A group of four cardinals wrote to [Pope] Francis accusing him of sowing confusion on important moral issues, and they asked for clarifications. He did not reply. And one of the signatories, the American Cardinal Raymond Burke, said if the pope does not clarify, he will proceed with what he called a formal correction of the pope after Christmas.

When we have a favorite writer, it's always the places where they grew up, lived, worked, and that they recreated on the page that we most want to visit and commune with. Faulkner's Mississippi, Raymond Chandler's Los Angeles, etc. The mind of the reader longs to be somewhere, not just anywhere, and certainly not nowhere.

Late summer is perfect for classic mysteries - think of Raymond Chandler's hot Santa Anas and Agatha Christie's Mediterranean resorts - while big ambitious works of nonfiction are best approached in September and early October, when we still feel energetic and the grass no longer needs to be cut.

Raymond Hendler exhibited a group of abstract paintings that displayed rare high spirits. Using a great deal of fresh white, Hendler devised extremely simple symbols which he dispersed felicitously on his shining grounds. These bright, often linear hieroglyphs serve both as pictorial animators-they often flow in winding patterns or like fluent handwriting-and as references to the plentitude of the artist's existence. Gardens and sky and human joy are read in these exceedingly compressed forms.

Look at the better players of my era - Jack Nicklaus, Gary Player, Lee Trevino, Raymond Floyd. They had pros they worked with from time to time, but out on Tour, thousands of miles from home, each of them learned to be his own best coach. I think Tiger can do the same.

I was reading Raymond Chandler very much with the feminist eye. In six of his seven novels, it's the woman who presents herself in a sexual way, who is the main bad person. And then you start reading more fiction, whether crime fiction or straight fiction, it's just bad girls trying to make good boys do bad things, going all the way back to Adam and Eve. The woman that thou gavest me made me do it, Adam says to God.

Obviously, the urge to molest children comes from some experience the person has had as a child, and he or she never worked it out. Watching Raymond Buckey describe how he loved working with the kids, I could sense this 11-year-old who'd stopped and never grown further on a sexual level.

I read mostly historical fiction - lots of stuff set in ancient Rome and ancient Greece. I also liked sci-fi and fantasy: David Gemmell, Raymond E. Feist. It's a nice escape from the world. As much as I do love real-life stories, they can often make you hurt in a way I'd rather not hurt.

Students need to learn how to unlearn those elements of a market driven society that deform their sense of agency, reducing them to simply consumers or even worse to elements of a disposable population. So we need to understand who controls the means of public education and the larger forms of what Raymond Williams called the cultural apparatuses of permanent education both in terms of the dangers they pose and the possibilities they harbor.

Raymond Carver had the quote that I loved about how he felt that a short story was the moment right before someone's life was about to fall apart. You can't really do that with a novel, but with a story you're just left hanging.

There are authors like David Foster Wallace or Raymond Chandler - with voice-based authors I might end up a completist, because what I love about them isn't just the particular construction of one novel or another but their flavor. There is an Austrian writer, Thomas Bernhard, as well. One book is not necessarily greater than another book, but they just have this incredible, unique voice, so it doesn't really matter which one you read.

Sage made me complete. He made me happy. He was as much a part of me as my own body. How could anyone lose that and still exist?" - Clea Raymond

What is evil? What is - where does the evil come from that lies behind someone like Saddam Hussein, or Radovan Karadzic, or General Claude Raymond in Haiti. As I say, I've tended to find these people - I mean, Saddam, I've never met or interviewed - but these other people to be rather disappointing. Their political goals were mundane. What they had working for them was opportunism, was very often cleverness and was ruthlessness.

Raymond Aron ascribes to Weber the view that 'each man's conscience is irrefutable.' ... while [Weber] holds that an agent may be more or less rational in acting consistently with his values, the choice of any one particular evaluative stance or commitment can be no more rational than any other. All faiths and all evaluations are equally non-rational.

There's Carol like a rolling car, And Martin like a flying bird, And Adam like the Lord's First Word, And Raymond like the Harvest Moon, And Peter like a piper's tune, And Alan like the flowing on Of water. And there's John, like John.

Phunny Business is a breezy, vivid, funny, star-studded and delightful valentine to comedy, entrepreneurship and the All-American impulse to make something out of nothing. The story of comedy club owner/inveterate dreamer Raymond Lambert and his heroic quest to create a safe, productive place for black stand-up comedians to hone their craft and find their voices isn't just a great Chicago story and a great comedy story: it's a flat-out great story, lovingly and engagingly told.