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| Link | Quote | Stars | Tags | Author |
| b7250aa | Anything that draws attention to ourselves through pain-free or artificial means is a manifestation of Resistance. | Steven Pressfield | ||
| b3bea31 | The professional dedicates himself to mastering technique not because he believes technique is a substitute for inspiration but because he wants to be in possession of the full arsenal of skills when inspiration does come. | Steven Pressfield | ||
| 7094eb6 | Casting yourself as a victim is the antithesis of doing your work. Don't do it. If you're doing it, stop. | Steven Pressfield | ||
| 1ed8955 | Have you seen interviews with the young John Lennon or Bob Dylan, when the reporter tries to ask about their personal selves? The boys deflect these queries with withering sarcasm. Why? Because Lennon and Dylan know that the part of them that writes the songs is not "them," not the personal self that is of such surpassing fascination to their boneheaded interrogators. Lennon and Dylan also know that the part of themselves that does the writ.. | Steven Pressfield | ||
| 5b1e5ed | I have learned a deep respect for one of Goethe's couplets: "Whatever you can do, or dream you can, begin it. Boldness has genius, magic, and power in it. Begin it now." --" | Steven Pressfield | ||
| 7958650 | The professional tackles the project that will make him stretch. He takes on the assignment that will bear him into uncharted waters, compel him to explore unconscious parts of himself. | Steven Pressfield | ||
| 909dbd7 | His was not, I could see now, the heroism of an Achilles. He was not a superman who waded invulnerably into the slaughter, single-handedly slaying the foe by myriads. He was just a man doing a job. A job whose primary attribute was self-restraint and self-composure, not for his own sake, but for those whom he led by his example. | Steven Pressfield | ||
| e4f4efa | The hardest thing in the world is to be ourselves. | Steven Pressfield | ||
| 4dc31ae | A youth loathes nothing more than his own callowness. Experience is his object. Experience, however ghastly, for the lad longs before all for the lined face and chiseled squint of the veteran. Even his submissions to terror, the very shit with which he paints his thighs under fire is trophy to him; he points it out to his comrades, laughing in the aftercourse of action as if it were a decoration for valour, for it makes him a salt, a vetera.. | Steven Pressfield | ||
| 9e120ee | Here is what you do, friends. Forget country. Forget king. Forget wife and children and freedom. Forget every concept, however noble, that you imagine you fight for here today. Act for this alone: for the man who stands at your shoulder. He is everything, and everything is contained within him. That is all I know. That is all I can tell you. --Dienekes at Thermopylae | spartans war warfare | Steven Pressfield | |
| 4ea4554 | Because a warrior carries helmet and breastplate for his own protection, but his shield for the safety of the whole line. | Steven Pressfield | ||
| fa02864 | The problem with friends and family is that they know us as we are. They are invested in maintaining us as we are. The last thing we want is to remain as we are. | Steven Pressfield | ||
| 7bd4974 | The artist committing himself to his calling has volunteered for hell, whether he knows it or not. He will be dining for the duration on a diet of isolation, rejection, self-doubt, despair, ridicule, contempt, and humiliation. The artist must be like that Marine. He has to know how to be miserable. He has to love being miserable. He has to take pride in being more miserable than any soldier or swabbie or jet jockey. Because this is war, bab.. | Steven Pressfield | ||
| 4f65648 | When we sit down each day and do our work, power concentrates around us . | Steven Pressfield | ||
| 36a8d2a | Never forget: This very moment, we can change our lives. There never was a moment, and never will be, when we are without the power to alter our destiny. This | Steven Pressfield | ||
| 97870e7 | The will to victory may be demonstrated in places other than actual battle. | Steven Pressfield | ||
| ffe8f74 | The professional dedicates himself to mastering technique not because he believes technique is a substitute for inspiration but because he wants to be in possession of the full arsenal of skills when inspiration does come. The professional is sly. He knows that by toiling beside the front door of technique, he leaves room for genius to enter by the back. | Steven Pressfield | ||
| 4b4c3d5 | Rule of thumb: The more important a call or action is to our soul's evolution, the more Resistance we will feel toward pursuing it. | Steven Pressfield | ||
| fa1fd71 | 's dialogues bear at least some similarities to the classical plays. | plato | Benjamin Jowett | |
| 3983ed1 | Now there was nothing but awful, terrible silence. Sight is a sense outside and apart from the body, an image on the surface of the eye. But sound enters the ears, the head, it lives inside. In sound's absence, silence echoes. | Margaret Weis & Tracy Hickman | ||
| 5def6bc | Do not go to others for the answers. Look in your own heart, search your own faith. You will either find the answer or come to see that the answer is with the gods themselves, not with man. | Margaret Weis | ||
| 74005e1 | Flint snorted. The kender was beginning to make sence, a fact that caused the dwarf to shake his head and wonder if maybe he shouldn't lie down somewhere out in the sun. | Margaret Weis | ||
| 989fc29 | The energetic kender had already grabbed hold of the dwarf's boot and heaved, propelling Flint head first right into the hard-muscled body of the young bronze dragon. Hands flailing wildly, Flint caught hold of the harness on the dragon's neck and hung on for dear life, revolving slowly in the air like a sack on a hook. "What are you doing?" Tas asked in disgust, gazing up at Flint. "This is no time to play! Here, let me help--" "Stop it! L.. | Margaret Weis | ||
| 1c89b4f | It was an old kender proverb--Don't change color to match the walls. Look like you belong and the walls will change color to match you. | Margaret Weis | ||
| bc80a89 | What do you see to the south?" Tanis asked abruptly. Raistilin glanced at him. "What do I ever see with these eyes of mine Half-Elf?" the mage whispered bitterly. "I see death, death and destruction. I see war." He gestured up above. "The constellations have not returned. The Queen of Darkness is not defeated." "We may have not won the war," Tanis began, "but surely we have won a major battle---" Raistlin coughed and shook his head sadly. .. | Margaret Weis and Tracy Hickman | ||
| 66413e3 | So dark. Endless darkness, eternal. It was not the absence of light that was so frightening as the absence of thought, of knowledge, of comprehension. Our lives, the lives of the living will go on. The sun shines, the moons rise, we will laugh and talk, and he will know nothing, feel nothing. Nothing. So final. It will come to us all. It will come to me. | Margaret Weis Tracy Hickman | ||
| 9de6947 | Well, what do we do now?" Caramon asked, sitting astride his horse and looking both up and down the stream. " 'You're' the expert on women," Raistlin retorted. | raistlin | Margaret Weis | |
| 4ddac9e | A voice flat enough to fit under a door crack. | thriller | Harlan Coben | |
| 730c202 | Myron remembered something his father once told him: People have an amazing capacity to mess up their own lives. | Harlan Coben | ||
| 7dc3dcc | Grief and rage--you need to contain that, to put a frame around it, where it can play itself out without you or your kin having to die. There is a theory that watching unbearable stories about other people lost in grief and rage is good for you--may cleanse you of your darkness. Do you want to go down to the pits of yourself all alone? Not much. What if an actor could do it for you? Isn't that why they are called actors? They act for you. Y.. | grief rage | Anne Carson | |
| daed4df | The fact that Anna is somewhere having coffee or a dream is an assault on me. I hate these moments of poverty. What does man eat? ask the phenomenologists. Like the dogs, names, down there, starving. | Anne Carson | ||
| 80ac127 | He / thought of women. / What is it like to be a woman / listening in the dark? Black mantle of silence / stretches between them like geothermal pressure. / Ascent of the rapist up the stairs seems as slow as / lava. She listens / to the blank space where / his consciousness is, moving towards her. Lava can / move as slow as / nine hours per inch. [...] She wonders if / he is listening too. The cruel thing is, she falls asleep / listening. | autobiography-of-red poetry | Anne Carson | |
| 9a4ca33 | 26. Plants do not actually sleep. Nor do they lie or even bluff. They do, however, expose their genitalia. | Anne Carson | ||
| 2608f97 | There is a loneliness that fills the plain. Total. Lunar. | Anne Carson | ||
| bff71f2 | Most / of those he interviewed for the science project had to admit they did not hear the cries of the roses / being burned alive in the noonday sun. Like horses, Geryon would say helpfully, / like horses in war. No, they shook their heads./ Why is grass called blades? he asked them. Isn't it because of the clicking? / They stared at him. You should be / interviewing roses not people, said the science teacher. Geryon liked this idea. / The .. | Anne Carson | ||
| 16e54cf | I wanted to run away with you tonight but you are a difficult woman the rules of you - Past and future circle round us now we know more now less in the institute of shadows. On a street black as widows with nothing to confess our distances found us the rules of you - so difficult a woman I wanted to run away with you tonight. | verse | Anne Carson | |
| c47842a | Suffice it to say I was compelled to create this group in order to find everyone who is, let's say, borrowing liberally from my INESTIMABLE FOLIO OF CANONICAL MASTERPIECES (sorry, I just do that sometimes), and get you all together. It's the least I could do. I mean, seriously. Those soliloquies in ? Sooo Hamlet and/or Othello, with maybe a little Shylock thrown in. Everyone from Pip in to freakin' Mr. Rochester in mentions my plays, s.. | literary-influences william-shakespeare | Sarah Schmelling | |
| 0c176e1 | You'll dream, too, while that damned thing that Earth wouldn't own is dripping, dripping in the Cosmos House tonight. | John W. Campbell Jr. | ||
| 0cab50d | A pistol ain't good for nothin' but killing other human beings, man. | George Pelecanos | ||
| 570e84c | A look passed between Recevo and Karras. They could hear the rest of them crowded outside the door. Karras cradled the Thompson gun, pressed the butt tight against his ribs. "Well," he whispered. "Come on if you're gonna come." They charged into the room. Karras saw white fire as he heard the reports, heard Joey's gun explode, saw one man fall, heard Joey scream, watched Joey's fedora tumble by as if it had been blown by a strong wind. Karr.. | George Pelecanos | ||
| 3ab4342 | You already been a punk. Least you can do is go out like a man." Then a dull popping sound and a quiet splash." | George P. Pelecanos | ||
| 6fc9354 | work and hope. But never hope more than you work. | Beryl Markham | ||
| 7958fb1 | There is respect for a heart like yours, and if its beating stop, the spirit lives to guard the ways you wandered. | Beryl Markham | ||
| 91bcff1 | I had never realized before how quickly men deteriorate without razors and clean shirts. They are like potted plants that go to weed unless they are pruned and tended daily. | Beryl Markham |