Quotes About Narrative

Small paintings can be fantastic. But you can't often get a narrative out of a small painting. In any case, museums are huge places, and you want to take up some space.

It's very easy, if you come from a place like Pakistan, to imagine that there's a narrative of American aggression towards the place that you come from. But that, in itself, is just a political view.

There is a famous saying: 'It's hard to be a Jew.' It's also hard to be a Palestinian. I know that.

Calling out antisemitism doesn't make me any less Palestinian.

It takes more drawing to tell a story in pantomime.

The world for our law enforcement community has changed dramatically: everything from filling out paperwork to relationships with the community and how they think the narrative is in the media.

When I am writing anything in general, I just want to tell the story that exists in my head; I don't try to write a parable or make a point.

The last paragraph, in which you tell what the story is about, is almost always best left out.

The press is writing parallel narrative about my life, especially my married life and nothing about my work. That's media for you.

It is paramount that we take control of the story behind our movement, which is that we seek equality for all Americans, no matter their race or gender.

I don't feel famous and I didn't want my autobiography to be like a Paris Hilton story.

The stories we tell about each other matter very much. The stories we tell ourselves about our own lives matter. And most of all, I think the way that we participate in each other's stories is of deep importance.

As a filmgoer and a filmmaker, I want to participate and tell stories of woman and man that will move us forward.

Traditionally in American cinema, Black men and women's participation in world wars is often not even represented at all.

I think a story should take as long to tell as it is appropriate to that particular story.

I've sort of dealt with the characters' lives more; particularly the women characters.

Partnerships are good engines for narrative.

I actually feel that the different kinds of stories come out of different parts of my brain.

I've always been a fan of the 19th century novel, of the novel that is plotted, character-driven, and where the passage of time is almost as central to the novel as a major minor character, the passage of time and its effect on the characters in the story.

Everyone says we have our first African American president. Has there ever been a Jewish president? An Italian president? They don't say a damn thing about that. You think we're still fighting the Civil War or something. If you want to mention it in passing, OK. But don't dwell on it.

What difference is there, after all, between the narrative we find in fiction and that which we find in the myths and legends that make up scriptures and Tantras? If a story works - if it conveys a truth, elicits an emotional response, tells us something we did not know before and allows us to own that something - then it has much the same function as a scriptural text. The first dramas were religious in nature; the first theatrical performances were rituals.

A boy with a story must write.

By entwining the story of his life with verses from the Quran and an acknowledgment of the new Christian terms to which he must adapt, Omar ibn Said created less a tale of conversion than a syncretic narrative: Like that of so many others, his is a story not of the religious remaking of a people but of a people remaking religious traditions to serve their altered circumstances.

An inner dialogue runs pretty much unceasingly though our minds. Sometimes we listen; sometimes we barely notice. The commands and assessments of this story line are there all the same, even if the depth of their influence goes unnoticed. But the most dangerous fictions aren't those we recognize as stories. Of more concern to us here are the ones we assume to be real.