“The reason that the rich were so rich, Vimes reasoned, was because they managed to spend less money.
Take boots, for example. He earned thirty-eight dollars a month plus allowances. A really good pair of leather boots cost fifty dollars. But an affordable pair of boots, which were sort of OK for a season or two and then leaked like hell when the cardboard gave out, cost about ten dollars. Those were the kind of boots Vimes always bought, and wore until the soles were so thin that he could tell where he was in Ankh-Morpork on a foggy night by the feel of the cobbles.
But the thing was that good boots lasted for years and years. A man who could afford fifty dollars had a pair of boots that'd still be keeping his feet dry in ten years' time, while the poor man who could only afford cheap boots would have spent a hundred dollars on boots in the same time and would still have wet feet.
This was the Captain Samuel Vimes 'Boots' theory of socioeconomic unfairness.”
― Terry Pratchett, quote from Men at Arms: The Play
“Sometimes it's better to light a flamethrower than curse the darkness.”
― Terry Pratchett, quote from Men at Arms: The Play
“We're dealing here," said Vimes, "With a twisted mind."
"Oh, no! You think so?"
"Yes."
"But... no... you can't be right. Because Nobby was with us all the time."
"Not Nobby," said Vimes testily. "Whatever he might do to a dragon, I doubt if he'd make it explode. There's stranger people in this world than Corporal Nobbs, my lad."
Carrot's expression slid into a rictus of intrigued horror.
"Gosh," he said.”
― Terry Pratchett, quote from Men at Arms: The Play
“Silverfish looked down.
"Oh. Are you a dwarf?"
Cuddy gave him a blank stare.
"Are you a giant?" He said.
"Me? Of course not!"
"Ah. Then I must be a dwarf, yes.”
― Terry Pratchett, quote from Men at Arms: The Play
“It was the way he wore the place. You expected him any moment to break into the kind of song that has suspicious rhymes and phrases like "my kind of town" and "I wanna be a part of it" in it; the kind of song where people dance in the street and give the singer apples and join in and a dozen lowly matchgirls suddenly show amazing choreographical ability and everyone acts like cheery lovable citizens instead of the murderous, evil-minded, self-centered people they suspect themselves to be. But the point was that if Carrot had erupted into a song, people WOULD have joined in. Carrot could have jollied up a circle of standing stones to form up behind him and do a rumba.”
― Terry Pratchett, quote from Men at Arms: The Play
“Right!"
"Right!"
"You can get there!"
"I can get there!"
"You're a natural at counting to two!"
"I'm a nat'ral at counting to two!"
"If you can count to two, you can count to anything!"
"If I can count to two, I can count to anything!"
"And then the world is your mollusc!"
"My mollusc! What's a mollusc?”
― Terry Pratchett, quote from Men at Arms: The Play
“Gamache in anger. “He knew that’s”
― Louise Penny, quote from The Beautiful Mystery
“As long as the sole ruler and disposer of the universe, the nous, remained excluded from artistic activity, things were mixed together in a primeval chaos: this was what Euripides must have thought; and so, as the first "sober" one among them, he had to condemn the "drunken" poets. Sophocles said of Aeschylus that he did what was right, though he did it unconsciously. This was surely not how Euripides saw it. He might have said that Aeschylus, because he created unconsciously, did what was wrong. The divine Plato, too, almost always speaks only ironically of the creative faculty of the poet, insofar as it is not conscious insight, and places it on a par with the gift of the soothsayer and dream-interpreter: the poet is incapable of composing until he has become unconscious and bereft of understanding.”
― Friedrich Nietzsche, quote from The Birth of Tragedy/The Case of Wagner
“In the newly sighted, learning to see demands a radical change in neurological functioning and, with it, a radical change in psychological functioning, in self, in identity. The change may be experienced in literally life-and-death terms. Valvo quotes a patient of his as saying, 'One must die as a sighted person to be bom again as a blind person,' and the opposite is equally true: one must die as a blind person to be born again as a seeing person.”
― Oliver Sacks, quote from An Anthropologist on Mars: Seven Paradoxical Tales
“[I]s there not something basically hostile to the actor's art in the consanguinity principle? After all, what is acting but an exercise in dissimulation?
The challenge to actors is to create characters on the stage; and these characters may be very different from what the actors are in real life. That indeed is the actor's triumph. The racialist restriction nullifies the talent of directors. The idea that only Swedes can direct Strindberg, only Russians Chekhov, only Irish Sheridan or Shaw, only Englishmen Shakespeare is self-evidently ridiculous--and, if carried out, would hopelessly impoverish the art of the theater. The consanguinity principle is an exclusionary rule that penalizes the very minorities it claims to benefit.”
― Arthur M. Schlesinger Jr., quote from The Disuniting of America: Reflections on a Multicultural Society
“Am I going to be this way for the rest of my life, always waiting for something bad to happen? Will I never truly be able to trust anyone? I worry that when I'm older, I'll be so afraid that people won't like me that I'll have trouble believing it when they actually do.”
― Jodee Blanco, quote from Please Stop Laughing at Me... One Woman's Inspirational Story
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