Grace Paley Quotes

My vocabulary is adequate for writing notes and keeping journals but absolutely useless for an active moral life.

I do rap and speak in Malayalam but only to save my life as my vocabulary in the language is not as good as it is in Hindi.

I find vocabulary to be a great drawback.

We are tied down to a language which makes up in obscurity what it lacks in style.

My favorite book in the Bible is always Proverbs because it's where you can find wisdom for no matter what you're going through. It hits me every time I read it. I've always read Proverbs regularly because it helps me deal with what's happening every day in real life.

Words are finite organs of the infinite mind. They cannot cover the dimensions of what is in truth. They break, chop, and impoverish it.

Words! Mere words! How terrible they were! How clear, and vivid, and cruel! One could not escape from them. And yet what a subtle magic there was in them! They seemed to be able to give a plastic form to formless things, and to have a music of their own as sweet as that of viol or of lute. Mere words! Was there anything so real as words?

You do not immortalize the lost by writing about them. Language buries, but does not resurrect.

My work is writing, but my real work is being.

Normal, day-to-day things inspire you to write. I try to travel and chill, and go out and enjoy the outdoors. That makes you see the real world. Not just in the studio or at concerts. I live it up as normal as I can.

Notes and chords have become my second language and, more often than not, that vocabulary expresses what I feel when language fails me.

Write about this man who, drop by drop, squeezes the slave's blood out of himself until he wakes one day to find the blood of a real human being--not a slave's--coursing through his veins.

I wanted to write a play about double nature ... one that wouldn't be symbolic or metaphorical or any of that stuff. I just wanted to give a taste of what it feels like to be two-sided. It's a real thing, double nature. I think we're split in a much more devastating way than psychology can ever reveal. It's not so cute. Not some little thing we can get over. It's something we've got to live with

What happens is, especially when I was writing for my band, Creedence, and it's the way I write now, I go into "guitar lick" mode. When I do, it sort of leads into a real song. I'd say to myself, your songwriting is coming up with a guitar lick, and the rest is easy!

I don't write poetry or short stories. I don't like to write articles usually. I tend to really only want to be focused on writing novels. It's one of the real advantages I've had over the years. I've only been good at one thing. It helps to be limited.

I talk to people and show 'em how to solve their problems and stop sitting around and complaining. So I just give people little T-isms, so that when they hear my story they know where I'm coming from and that I'm real.

It by no means follows, that because two men utter the same words, they have precisely the same idea which they mean to express: language is inadequate to the variety of ideas which are conceived by different minds, and which, could they be expressed, would produce a new variety of characteristic differences between man and man.

The principal lesson of Emacs is that a language for extensions should not be a mere "extension language". It should be a real programming language, designed for writing and maintaining substantial programs. Because people will want to do that!

Constant work, constant writing and constant revision. The real writer learns nothing from life. He is more like an oyster or a sponge. What he takes in he takes in normally the way any person takes in experience. But it is what is done with it in his mind, if he is a real writer, that makes his art.

I was under twenty when I deliberately put it to myself one night after good conversation that there are moments when we actually touch in talk what the best writing can only come near. The curse of our book language is not so much that it keeps forever to the same set phrases . . . but that it sounds forever with the same reading tones. We must go out into the vernacular for tones that haven't been brought to book.

I think authors are just realizing there's no real reason to feel limited to a narrow set of genre rules in their writing. There's no reason a mystery novel can't have fantastic elements in it. Similarly, there's no reason why your epic fantasy series can't have elements of a mystery.

We are so impressed by scientific clank that we feel we ought not to say that the sunflower turns because it knows where the sun is. It is almost second nature to us to prefer explanations . . . with a large vocabulary. We are much more comfortable when we are assured that the sunflower turns because it is heliotropic. The trouble with that kind of talk is that it tempts us to think that we know what the sunflower is up to. But we don't. The sunflower is a mystery, just as every single thing in the universe is.

The only real problem in life is what to do next.

Who is more real? Homer or Ulysses? Shakespeare or Hamlet? Burroughs or Tarzan?

There was a time when hip-hop was its own musical principle, aside from sampling. Like the entire Wild Style break is instrumental. Kurtis Blow's earliest stuff was studio musicians playing. Whodini had a real clear sound, things like "five minutes of funk," stuff that you could write really beautiful, lush string and horn arrangements around, stuff that was just music.