Tiny Quotes - page 10
Carlo looked as at the world of fallen man on the endless suburbs that passed for a city, an eatery in the likeness of a Sphinx (enter between its forepaws), another, for jumbo malts so thick you can't suck 'em through a straw, in the form of an elephant crouched as at the bidding of its mahout, gimcrack temples of various faiths, attap roofs of nutburger stands with Corinthian columns, loans loans loans, stores crammed with cutprice radios, a doughnuttery, homes like Swiss chalets, like Bavarian castles, miniature Blenheims, Strawberry Hills, Taj Mahals, a bank in the form of a tiny ocean liner, dusty trees on the boulevards (datepalm, orange, oleander), bars with neon bottles endlessly pouring, colleges for stuntmen, beauticians, morticians, degrees in drummajoretteship.
Anthony Burgess
Outside, the main doors behind him, he was hit full in the chest by autumn. The doggy wind leapt about him and nipped; leaves skirred along the pavement, the scrape of the ferrules of sticks; melancholy, that tetrasyllable, sat on a plinth in the middle of the square. English autumn, and the whistling tiny souls of the dead round the war memorial.
Anthony Burgess
Of all the creative work produced by humans anywhere, a tiny fraction has continuing commercial value. For that tiny fraction, the copyright is a crucially important legal device. For that tiny fraction, the copyright creates incentives to produce and distribute the creative work. For that tiny fraction, the copyright acts as an "engine of free expression."
But even for that tiny fraction, the actual time during which the creative work has a commercial life is extremely short. As I've indicated, most books go out of print within one year. The same is true of music and film. Commercial culture is sharklike. It must keep moving. And when a creative work falls out of favor with the commercial distributors, the commercial life ends.
Lawrence Lessig
It seems so sad to see the little dirt-grimed brats try to play in the noisy courts and muddy streets. Poor little uncared-for, unwanted human atoms, they are not children. Children are bright-eyed, chubby, and shy. These are dingy, screeching elves, their tiny faces seared and withered, their baby laughter cracked and hoarse.
Jerome K. Jerome
[Meat industry] truly is a disgusting industry, all the more so because it's hidden. Have you ever seen animals being shipped to abattoirs? Do you even know where these abattoirs are? Have you ever seen an animal getting killed for the food you eat? It's a dark, dark, dark trade that nobody really knows about, and a hugely profitable one at that. ... If I don't believe in killing animals, why on earth would I do it for the sake of fashion ... I don't think there's any difference, because at the end of the day you're killing an animal and stripping its skin off its body. It's somebody's baby – or it has a baby – it breathes, it lives, it has emotions, it has feelings ... I find it fascinating that leather and fur are so often associated with the top luxury level of fashion. And yet leather, in this day and age, is probably cheaper than a piece of cotton. So there's such a tiny price put on an animal's life.
Stella McCartney
That night two lovers whispering under the lead canopy of the church were killed by their own passion. Their effusion of words, unable to escape through the Saturnian discipline of lead, so filled the spaces of the loft that the air was all driven away. The lovers suffocated, but when the sacristan opened the tiny door the worlds tumbled him over in their desire to be free, and were seen flying across the city in the shape of doves.
Jeanette Winterson
Life is bacterial and those organisms that are not bacteria have evolved from organisms that were. ...Gene exchanges were indispensable to those that would rid themselves of environmental toxins. ...Replicating gene-carrying plasmids owned by the biosphere at large, when borrowed and returned by bacterial metabolic geniuses, alleviated most local environmental dangers, provided said plasmids could temporarily be incorporated into the cells of the threatened bacteria. The tiny bodies of the planetary patina spread to every reach, all microbes reproducing too rapidly for all offspring to survive in any finite universe. Undercover and unwitnessed, life back then was the prodigious progeny of bacteria. It still is.
Lynn Margulis
In 1946 what I call my 'Little Image' began breaking through this [former] gray matter of mine. I felt fantastic relief that something was beginning to happen after all this time when there was nothing, nothing, nothing... The canvas is down on a floor or table and I am working out of a tiny can. In other words, I have to hold the paint so I can move it. But I wouldn't have been using Duco [industrial paint, like Willem de Kooning did]. My paint would always have been oil and I could get the consistency of a thick pouring quality in it by squeezing it into a can and cutting it with turp [turpetine] – the way I use paint today... The only thing I can say with absolute assurance is that my 'Little Image' work starts about 1946 and ends in 1949.
Lee Krasner
They [the younger woman artists in American Abstract Expressionism: Helen Frankenthaler and Joan Mitchell, ] are the next generation and it is another scene, another story. You forget that in my generation Paris was still the leading school of painting and this situation was being changed by a tiny handful of artists to a scene called New York, America, which never before had a leading role in the art world. That didn't happen just by reading a newspaper. Now the next generation comes in and they may think it is rough for them but it is a pie... We broke the ground.
Lee Krasner
