I avoid the young adult section altogether if possible, although it's sometimes fun to catch a girl lying on the floor, reading "Gossip Girl."
I'm breathing out of my mouth and thinking things I have only seen on Netflix in the foreign-movie section.
One summer day, while I was walking along the country road on the farm where I was born, a section of the stone wall opposite me, and not more than three or four yards distant, suddenly fell down. Amid the general stillness and immobility about me the effect was quite startling. ... It was the sudden summing up of half a century or more of atomic changes in the material of the wall. A grain or two of sand yielded to the pressure of long years, and gravity did the rest.
My boredom threshold is low at the best of times but I have spent more time being slowly and excruciatingly bored by children than any other section of the human race.
Now, if the cooperation of some thousands of millions of cells in our brain can produce our consciousness, a true singularity, the idea becomes vastly more plausible that the cooperation of humanity, or some sections of it, may determine what Comte calls a Great Being.
The clergy are at present divided into three sections: an immense body who are ignorant; a small proportion who know and are silent; and a minute minority who know and speak according to their knowledge.
We move too much in platoons; we march by sections; we do not live in our vital individuality enough; we are slaves to fashion, in mind and in heart, if not to our passions and appetites.
Ripe bananas are the mark of a good produce section. A good produce section is the mark of a superior grocery store. A superior grocery store is the mark of a good man.
Near that a dusty paint-box, some odd hooks, A half-burnt match, an ivory block, three books, Where conic sections, spherics, logarithms, To great Laplace, from Saunderson and Sims, Lie heaped in their harmonious disarray Of figures,-disentangle them who may.
Part of the core of my system, is a way of trying to give the characters more control. If I'm practicing making up what the characters will do, it's never good. In fact, when I catch myself doing that, I try to get rid of that section, and try and let them start making the decisions.
My editor and I remain very disciplined. It's just sometimes when you're making a film, you get into the cutting room and you see a scene that's slowing you down in a certain section, but if you remove that scene then, emotionally or story-wise, another scene a half-hour later won't have the same impact. You just get stuck with it.
Article 1 Section 8 of the Constitution says Congress has the ability to coin money and regulate the currency and doesn't say anything about gold or silver.
So many people representing different sections of our community are taken down one way or another. The system was designed to break us down. You think it isn’t true? The three-strike rule is to break down a black man.
My nails are my rhythm section when I'm writing a song all alone. Some day, I may cut an album, just me and my nails.
Why is thinking about crime or imagining crime so goddamn central to pop culture? It doesn't matter whether it's American TV or British TV. And there's entire sections of bookstores devoted to crime.
I agonize over things like this - the order of things, section titles, all this architectural sort of stuff. Takes me years to figure out.
I like to work with multiple sections because they lend themselves to the structure of the poem: its intensifications and arcs and closures. I feel like working with smaller units feels more natural to the way I write poems.
I don't read the "letters" section of Time magazine. I think it's just my habit as a reader. I don't read comments on stories, in general.
I don't read "letters" sections of magazines, but I'll read anyone's blog post about me.
If you cross-section anyone's life from one angle and then another, what constitutes goodness looks different each time. It's not an absolute.
Then, you know, the other more-traditional role of the producer in, like, the kind of Quincy Jones sense is kind of part arranger. So you're coming up with, like, these - you hear these songs that are quite bare-bones, and you dream up what's the band doing? What's the rhythm section doing? What's the guitars, strings, pianos - that sort of thing. It's almost like a little toolbox.
The thing with the question of oneness or non-oneness is that you can literally discuss it forever. You can go into the philosophy section of any library and you'll see people have been discussing it forever and will continue to do so.
You know that this vignette and that vignette belong side by side, you know that a certain turn of phrase you've been saving will probably work best within a given section of the narrative. As in a jazz performance, writing lives or dies by what's produced in that moment. But that moment is attended by long preparation.
I was interested in the ways that artists responded to totalitarianism - the Czech Jazz Section, Romanian absurdist theatre, Brecht's alienation effect. The anything-goes, anarchic qualities of jazz and Surrealism seemed to offer a way to cross some of the forbidden frontiers of Eastern Europe.
When my own writing needs a perk, I open Zukofsky and read from "A" - particularly sections "22" and "23." It can be opaque, but I love the intensity.
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