Quotes About Authenticity

Richard Cooper

Unfortunately, however much we may deplore something, it does not stop being true.

I don't care about what is good and what is evil, I care about what is true.

its author can be excused of dishonesty only on the grounds that before deceiving others he has taken great pains to deceive him-self'.

There is the particular additional benefit of conspicuous generosity as a way of buying unfakeably authentic advertising.

I'm not trying to please anyone. I'm just trying to write a damn book.

I wrote. Something. Yes. And you were truthful. No. You weren't truthful? I was accurate.

Dorrigo Evans hated virtue, hated virtue being admired, hated people who pretended he had virtue or pretended to virtue themselves. And the more he was accused of virtue as he grew older, the more he hated it. He did not believe in virtue. Virtue was vanity dressed up and waiting for applause.

being true to the multitudes within himself that are one and many.

And you were truthful. No. You weren't truthful? I was accurate.

The world is a more engaging and less dramatic place than writers ever give it credit for being

Ann says I fabricate these feelings. But so what? I still have them.

I remember the revelation it was to me when I realized I'd rather be smart in the way Elvis Presley was than in the way, say, Ludwig Wittgenstein was. The thing was, you could imagine you could be smart like Wittgenstein by just thinking hard enough, but Elvis just had it. It was almost spiritual. A kind of grace.

Cuá»™c ??i là ?? s?ng t?t và tr?n v?n trong chính nó, ch? không ch? là khúc d?o ??u cho nh?ng gì có th? x?y ??n sau cái ch?t.

According to the psychosurgeons, we act more in keeping with our true selves in a dream than in any other situation, including the throes of orgasm and the moment of our deaths. Maybe that explains why so much of what we do in the real world makes so little sense.

Working with the morning pages, we begin to sort through the differences between our real feelings, which are often secret, and our official feelings, those on the record for public display.

To know what you prefer instead of humbly saying Amen to what the world tells you you ought to prefer, is to have kept your soul alive. ROBERT LOUIS STEVENSON

We ourselves are the substance we withdraw to, not from, as we pull our overextended and misplaced creative energy back into our own core.

Fame is not the same as success, and in our true souls we know that.

Art lies in the moment of encounter: we meet ourselves and we meet our self-expression. We become original because we become something specific, an origin from which work flows.

Often, creativity is blocked by our falling in with other people's plans for us. We want to set aside time for our creative work, but we feel we should do something else instead.

When we write from the inside out rather than the outside in, when we write about what most concerns us rather than about what we feel might sell, we often write so well and so persuasively that the market responds to our efforts.

Anger is a call to action. It is challenging and important to let our light shine. It is important to name ourselves rather than wait for someone else to do it, or pretend that we can continue to bear it when we can't. When we complain that others do not take ourselves and our values seriously, we are actually saying that we don't. If our aesthetics matter so much to us, we must act on them in a concrete and specific form.

Many of us find that we have squandered our own creative energies by investing disproportionately in the lives, hopes, dreams, and plans of others. Their lives have obscured and detoured our own. As we consolidate a core through our withdrawal process, we become more able to articulate our own boundaries, dreams, and authentic goals. Our personal flexibility increases while our malleability to the whims of others decreases. We experience a heightened sense of autonomy and possibility.