Quotes About Imagination

One makes advances. You do! You come to see what your story is like. That's part of the fun: to see how you can get the other elements that are not your natural interests or concerns primarily.

I quote Frank O'Connor to my students: that when you are writing a story, at some point the story must take over. You are not going to be able to control it. I think this is true. O'Connor said he thought Joyce controls his stories too tightly—"Whoever heard of a Joyce story taking over?" he asked—and that there is a deadness about them. You have got to keep the story opened up, let the story take over at some point.

I travel the garden of music, thru inspiration. It's a large, very large garden, seen?

At the age of four with paper hats and wooden swords we're all Generals. Only some of us never grow out of it.

By increasing the size of the keyhole, today's playwrights are in danger of doing away with the door.

I imagine hell like this: Italian punctuality, German humour and English wine.

Unfortunately, a superabundance of dreams is paid for by a growing potential for nightmares

You can't kill the thing under the bed. You can only keep it outside the covers.

If you can see it, chances are it doesn't exist.

Imagine you are a machine. Yes, I know. But imagine you're a different kind of machine, one built from metal and plastic and designed not by blind, haphazard natural selection but by engineers and astrophysicists with their eyes fixed firmly on specific goals. Imagine that your purpose is not to replicate, or even to survive, but to gather information. I can imagine that easily. It is in fact a much simpler impersonation than the kind I'm usually called on to perform.

You are all sleepwalkers, whether climbing creative peaks or slogging through some mundane routine for the thousandth time. You are all sleepwalkers.

There was no shortage of perspectives. The noosphere seethed with scenarios ranging from utopian to apocalyptic.

Nothing up there tonight but entropy, and the same imaginary shapes that people had been imposing on nature since they'd first thought to wonder at the heavens.

You can't kill the thing under the bed. You can only keep it outside the covers.

Floaters swarmed through his eyeballs like schools of panicked fish.

I glanced around at all that customized abstraction: internal feedback, lucidly dreamed. "You're omnipotent in here. Desire anything, imagine anything; there it is. I'd thought it would have changed you more.

You'll just have to imagine

synesthete.

Visual reality is the starting point, but beneath this the true intention is the poetic vision. These twin poles – the encounter with reality and the imaginative transformation of reality – are the two opposing poles around which all artistic endeavour has been concentrated for thousands of years.

The exquisite world of imagination opened up by any powerful music is itself problematic, for it tempts listeners to put into words the feelings it arouses in them and so to visualise a composer's priorities and even personality. There must be few people who have played, sung, listened to or written about Bach's music who do not feel they have a special understanding of him, a private connection, unique to themselves, but ultimately coming from their idea of what music is and does.

Puff, the Magic Dragon, lived by the sea, and frolicked in the Autumn Mist in a land called Honah Lee, little Jacky Paper loved that rascal Puff, and gave him strings and sealing wax and other fancy stuff.

Is that my foot? Silly me, it's a starfish

Öyle bir ya?tayd?m ve öyle bir mizaçtayd?m ve çocuklu?umda o kadar az oyun oynam??t?m ve aldatmas?n? o kadar az ö?renmi?tim ki, yalan bana suçlar?n en a??r? gibi geliyordu; ve bir yalan söylendi?i zaman insanlar?n de?il, e?yan?n bile buna nas?l tahammül etti?ine ?a??yordum.

Ararsa yokum. Ben bir rüyay?m art?k. Arzu ile tekrar görülemem. Haf?zas?nda yadigâr?m.