Top 1200 Untold Stories Quotes & Sayings - Page 19

People who have experienced nothing love to tell stories while people who have experienced a great deal suddenly have no stories to tell at all.

When he whom I love travels with me or sits a long while holding me by the hand, … Then I am charged with untold and untellable wisdom, I am silent, I require nothing further, I cannot answer the question of appearances or that of identity beyond the grave, But I walk or sit indifferent, I am satisfied, He ahold of my hand has completely satisfied me.

I'd usually read the Bible a lot. Read little short Bible stories. And today, whenever I give speeches, I bring up a few of those Bible stories, because those are inspirations to me.

I'm really interested in trying to tell stories about women that don't involve romantic components. That's so much a part of the way we feel about female characters and their needs that it feels like it's built in - but I'd like to find a way that it's not. There are so many more stories than that.

It is easy to forget how mysterious and mighty stories are. They do their work in silence, invisibly. They work with all the internal materials of your mind and self. They become part of you while changing you. Beware the stories you read or tell; subtly, at night, beneath the waters of consciousness, they are altering your world.

My search is always to find ways to chronicle, to share and to document stories about people, just everyday people. Stories that offer transformation, that lean into transcendence, but that are never sentimental, that never look away from the darkest things about us.

I often have trouble falling asleep at night, so when I'm lying in bed I think up stories. That's where I do a lot of my thinking. I also get a lot of ideas while I'm reading - sometimes reading someone else's stories will make me think of one of my own.

In writing ... remember that the biggest stories are not written about wars, or about politics, or even murders. The biggest stories are written about the things which draw human beings closer together.

My dad would tell me bedtime stories, and he used to always leave them open-ended and finish at a crucial point with the words, 'dream on'. Then it was my responsibility to finish the story as I was drifting off to sleep. We would call them dreaming stories.

Telling purposeful stories is interactive. It's not a monolog. Ultimately, purposeful tellers must surrender control of their stories, creating a gap for the listener(s) to willingly cross in order to take ownership. Only when the listener(s) own the tellers' story and make it theirs, will they virally market it.

I view my stories as sexual or personal. Curiously, I don't. When I was writing those stories I thought of them as comedy pieces in the vein of performance monologue, such as you might get with Richard Pryor, or Lenny Bruce, or George Carlin. So I don't feel vulnerable because I know the line of demarcation between "Writer Kevin" and "Narrative Kevin."

I have made up thousands of stories; I have filled innumerable notebooks with phrases to be used when I have found the true story, the one story to which all these phrases refer. But I have never yet found the story. And I begin to ask, Are there stories?

Why the connection with musicians? I think it's because in the end we're doing very similar things - we're telling stories, we're using poetic, lyrical language, and we're distilling stories down into their simplest form. We're both telling a story in two languages - word and music for them; and word and image for me.

After all, enforced national bilingualism in this country isn't mere policy. It has attained the status of a religion. It's a dogma which one is supposed to accept without question....Make no mistake. Canada is not a bilingual country. In fact it is less bilingual today than it has ever been...As a religion, bilingualism is the god that failed. It has led to no fairness, produced no unity, and cost Canadian taxpayers untold millions.

I can easily come up with ten really iconic stories/trade paperbacks for Superman, Batman, others... name me ten equally big, iconic Wonder Woman stories. Much harder. That ain't the character's fault, that isn't sexism, that's just not servicing the character.

You've read newspaper stories about elderly widows who die and leave their entire estates to their pet cats, right? Well, your cat reads those stories too, and has spent most of its skulking, devious little life dreaming about inheriting all your money.

I figured out I wanted to tell stories in college. I'm an only child who moved around a lot growing up, and I really feel like it prepared me to be a storyteller - to make up stories and pretend to be every hero from every movie and TV show as a kid. So it was a natural progression.

I loved ghost stories. I love horror stories. I love all of that stuff, but I really yearn for something to actually frighten me. It's more of a yearning for that than something that has to necessarily be cerebral or sophisticated. Good storytelling and something that actually frightens you.

What I do with everything is take things out of real life. You encounter all sorts of stories. It's a lot of your friends and family, sometimes there's quite sad episodes in their life and everything. So just little things I've picked up along the years always find a way into all of my stories.

The New York Times has had fake stories. CBS has had fake stories. And now Newsweek had a fake story. You realize the only one that hasn't had to print a retraction is the National Inquirer

Stories are the secret reservoir of values: change the stories individuals and nations live by and tell themselves, and you change the individuals and nations.

In my lifetime I have seen democracy begin to expand, not only to include those who have been excluded, but to provide a listening arena, a vocabulary, an intelligent reception for stories that have been buried. Not just stories of the disenfranchised and the marginalized, but marginalized and disenfranchised histories even in the lives of the accepted and the privileged.

As artists we have an extraordinary and rare privilege to tell the stories of our people, our land, our culture. They grip us, tear us apart, and put us back together. We are our stories.

Writers shouldn’t underestimate the difficulty of what they’re doing, and they should treat it with great seriousness. You’re doing something that really matters, you’re telling stories that have an impact on other people and on the culture. You should tell the best stories you can possibly tell and put everything you’ve got into it.

There's a glorious sense of freedom in comedy, just allowing myself to tell jokes, allowing myself to interrupt myself and tell old African folk stories that I made up - or didn't - and Jamaican stories.

People will always want it [reality TV shows], if it's produced well and if it's telling people's stories - that's all anybody wants: to connect with another human being on a very basic level. If the stories are told well, I think it can continue and continue.

If your dream is to tell stories, interesting stories, play interesting people, that's the bottom line. The people that I play have to be extraordinary.

I'm an optimist and my heroines seem to be that way, too. It's too much work to be cynical and distrusting. That doesn't mean I create perfect stories and perfect people, however. What this means is that my stories are resolved in a manner that leaves the reader with a feeling of hope and happy expectation . . . and wanting to reach for another one of my books.

What we have here is a rousing boy's adventure story, adapted from stories that Edgar Rice Burroughs cranked out for early pulp magazines. They lacked the visceral appeal of his Tarzan stories, which inspired an estimated 89 movies; amazingly, this is the first John Carter movie, but it is intended to foster a franchise and will probably succeed.

At Al Jazeera, the first story I did was to sit down with a former Haitian dictator, Jean-Claude Duvalier, and grill him about crimes against humanity. Al Jazeera is giving me the opportunity to tell important stories and stories that I want to tell.

Literature is conscious mythology: as society develops, its mythical stories become structural principles of story-telling, its mythical concepts, sun-gods and the like, become habits of metaphoric thought. In a fully mature literary tradition the writerenters intoa structure of traditional stories and images.

I think we need stories, and we need to tell the stories over and over and over not only to remind us, but to be able to have that clarity of experience that changes us, so that we know who we are now because of who we have been at some other time.

It is our stories [classic Disney films] that make us human - so Owen [Suskind] has become an expert in what connects us and makes us human. That got to me, the power of these stories, and the lessons these tales give us to create the connection between us.

Some of the stories I admire seem to zero in on one particular time and place. There isn't a rule about this. But there's a tidy sense about many stories I read. In my own work, I tend to cover a lot of time and to jump back and forward in time, and sometimes the way I do this is not very straightforward.

I'm not interested in stories. Stories are interesting but I don't think my head works that way. I remember at age 10 I dreamt of making animated cartoons as loops, something you could just project on your wall and look at from time to time. Kind of, something to stare at, something that's always there.

By nature, human beings search for ways to make sense and meaning out of their lives and their world. One way that we make meaning is through the telling of our stories. Stories connect us, teach us, and warn us never to forget.

I definitely love history. I'm not formally trained or educated in history, but you could say I did go back to college in 2008 to do Untold History of the United States. That took five years. Co-author Peter Kuznick has been teaching history for something like 35 years, at American University and other places. His group of researchers brought me into contact with a lot of books.

I fall in love with certain stories. Those stories tend to be connected to my life some way - for instance, with my first book I was writing about the experience of coaching Little League in the Chicago inner city. But the common thread tends to be exploring some kind of mystery. Simple questions that spiral deeper.

So, I guess motherhood and the threat of not being able to pay my rent inspired me to be a novelist. But as far as what inspired me to be a writer, it's the stories. It sounds very cliched, but the stories rise up and demand to be told. They always have done, long before I became a writer.

The earliest influence on me was the movies of the thirties when I was growing up. Those were stories. If you look at them now, you see the development of character and the twists of plot; but essentially they told stories. My mother didn't go to the movies because of a religious promise she made early in her life, and I used to go to movies and come home and tell her the plots of those old Warner Brothers/James Cagney movies, the old romantic love stories. Through these movies that had real characters, I absorbed drama, sense of pacing, and plot.

Writers imagine that they cull stories from the world. I'm beginning to believe that vanity makes them think so. That it's actually the other way around. Stories cull writers from the world. Stories reveal themselves to us. The public narrative, the private narrative - they colonize us. They commission us. They insist on being told. Fiction and nonfiction are only different techniques of story telling. For reasons that I don't fully understand, fiction dances out of me, and nonfiction is wrenched out by the aching, broken world I wake up to every morning.

Even happy situations can easily start to feel miserable. So, I think that people who consider themselves sophisticated or who are in fact sophisticated have come to distrust stories that are uplifting or simply stories in which the characters get what they want in the end. Because in life, what you want is never the end.

Family is so central to Afghan life that all Afghan stories are family stories. Family is something I simply can't resist because all the great themes of human life - duty, grief, sacrifice, love, envy - you find all those things within families.

Good stories are not written by people who live in a city of dirty strip malls, forced to listen to the machinated opinions of lawyers, bean counters and statisticians… Good stories strong enough to love are created by those brave enough to live.

All stories, if continued far enough, end in death, and he is no true-story teller who would keep that from you. Especially do all stories of monogamy end in death, and your man who is monogamous while he often lives most happily, dies in the most lonely fashion.

People tend to think that hate is the most dangerous emotion. But love is equally dangerous,” Will said. “There are many stories of spirits haunting the places and people who meant the most to them. In fact, there are more of those than there are revenge stories.

My stories were translated and had many reviews before I had an interview with any international or Arab newspaper. If the stories hadn't succeeded, you wouldn't have asked me my position on Arab festivals and I wouldn't have been interested in the festivals anyway, because I would be in seclusion, writing.

As an activist, you do find yourself directed more toward public action. But I've always tried to use stories from my own life in my writing for instance. It has always been clear to me that the stories of each other's lives are our best textbooks. Every social justice movement that I know of has come out of people sitting in small groups, telling their life stories, and discovering that other people have shared similar experiences. So, if we've shared many experiences, then it probably has something to do with power or politics, and if we unify and act together, then we can make a change.

I think kids abandon stories all the time. They start stories and get frustrated or get a different, better idea. I think that it is more worthwhile to stick with a story and revise it and try to finish it than abandon ship. Revisions, for any writer, are the name of the game.

I know these will become old stories someday and our pictures will become old photographs and we'll all become somebody's Mom or Dad, but right now, these moments are not stories. This is happening and I'm here.

I thought I could capture the stories of the city on paper. I thought I could write about the horrors of the city. Horror stories you see. I tell you I didn't have to look far for material. Everywhere I looked, there were stories hidden there in the dark corners. . . . I wrote and still there were more. . . . No one would publish them. 'Too horrible,' they said. 'Sick mind,' they said. I thought I could write about the horrors of the city but the horror is too big and it goes on forever.

I remember meeting President Obama and looking at him, thinking, 'Damn, this dude is really our president. He really went out and did it!' If you look at stories like that, and other stories that I'm sure you could compare to, it's just about freeing your mind and taking those guards down.

Stories are like spiders, with all they long legs, and stories are like spiderwebs, which man gets himself all tangled up in but which look pretty when you see them under a leaf in the morning dew, and in the elegant way that they connect to one another, each to each.

When you learn about stories in school, you get it backward. You start to think 'Oh, the reason these things are in stories is because a book said I need to put these things in there.' You need a death, as my husband says, and you need a little sidekick with a saying like 'Skivel-dee-doo!'

It is my belief that whereas the twentieth century has been a century of war and untold suffering, the twenty-first century should be one of peace and dialogue. As the continued advances in information technology make our world a truly global village, I believe there will come a time when war and armed conflict will be considered an outdated and obsolete method of settling differences among nations and communities.

Whether you look at 'Glee' and its normalization of gay identity or you look at the work of Martin Scorsese and the Italian-American community, American culture is able to take these stories, which are seen as marginalized, and just turn them into American stories. And you don't think twice about it.

The name of the album is 'Non-Fiction'. And, I'm calling it that because the name of every song on this album is derived from a true story. Now, some of the stories are mine. Some of the stories belong to some of my fans.

We can just as easily have an economy that is based on healing the future instead of stealing it. We can either create assets for the future or take the assets of the future. One is called restoration and the other exploitation. And whenever we exploit the earth we exploit people and cause untold suffering. Working for the earth is not a way to get rich, it is a way to be rich.

People see their own lives as stories; a lifelong story with a single hero or heroine... much contemporary unhappiness is due to the fact that people in high tech societies receive neither strong myths and stories from their culture nor the ability to construct their own... they lose the plot.

Truth be told, I hear stories every day that would make you say, 'If you put that in a movie, you wouldn't believe it.' Real life really is kinda incredible; the stories from people's actual lives defy credibility. People's lives are messy, humans are messy, and they're flawed.