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The Texas twang was nearly impenetrable unless you knew him well. D.W. could speak standard English when he pleased but, as he told Emilio once, ‘Son, with the vows we take, there’s a limited range of opportunity for eccentricity. I get my
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“98% of reported hauntings have a natural and mundane explanation … it is the other 2% that have interested me for over 40 years.”
― No Common Task: The Autobiography of a Ghost-hunter
― No Common Task: The Autobiography of a Ghost-hunter
“Nobody listens anymore. I can't talk to the walls because they're yelling at me, I can't talk to my wife; she listens to the walls. I just want someone to hear what I have to say. And maybe if I talk long enough it'll make sense. And I want you to teach me to understand what I read.”
― Fahrenheit 451
― Fahrenheit 451
“No sight so sad as that of a naughty child," he began, "especially a naughty little girl. Do you know where the wicked go after death?"
"They go to hell," was my ready and orthodox answer.
"And what is hell? Can you tell me that?"
"A pit full of fire."
"And should you like to fall into that pit, and to be burning there for ever?"
"No, sir."
"What must you do to avoid it?"
I deliberated a moment: my answer, when it did come was objectionable: "I must keep in good health and not die.”
― Jane Eyre
"They go to hell," was my ready and orthodox answer.
"And what is hell? Can you tell me that?"
"A pit full of fire."
"And should you like to fall into that pit, and to be burning there for ever?"
"No, sir."
"What must you do to avoid it?"
I deliberated a moment: my answer, when it did come was objectionable: "I must keep in good health and not die.”
― Jane Eyre
“You can be just friends with people, you know," Orla said. "I think it's crazy how you're in love with all those raven boys."
Orla wasn't wrong, of course. But what she didn't realize about Blue and her boys was that they were all in love with one another. She was no less obsessed with them than they were with her, or one another, analyzing every conversation and gesture, drawing out every joke into a longer and longer running gag, spending each moment either with one another or thinking about when next they would be with one another. Blue was perfectly aware that it was possible to have a friendship that wasn't all-encompassing, that wasn't blinding, deafening, maddening, quickening. It was just that now that she'd had this kind, she didn't want the other.”
― Blue Lily, Lily Blue
Orla wasn't wrong, of course. But what she didn't realize about Blue and her boys was that they were all in love with one another. She was no less obsessed with them than they were with her, or one another, analyzing every conversation and gesture, drawing out every joke into a longer and longer running gag, spending each moment either with one another or thinking about when next they would be with one another. Blue was perfectly aware that it was possible to have a friendship that wasn't all-encompassing, that wasn't blinding, deafening, maddening, quickening. It was just that now that she'd had this kind, she didn't want the other.”
― Blue Lily, Lily Blue
“The artist is the creator of beautiful things. To reveal art and conceal the artist is art's aim. The critic is he who can translate into another manner or a new material his impression of beautiful things.
The highest as the lowest form of criticism is a mode of autobiography. Those who find ugly meanings in beautiful things are corrupt without being charming. This is a fault.
Those who find beautiful meanings in beautiful things are the cultivated. For these there is hope. They are the elect to whom beautiful things mean only beauty.
There is no such thing as a moral or an immoral book. Books are well written, or badly written. That is all.
The nineteenth century dislike of realism is the rage of Caliban seeing his own face in a glass.
The nineteenth century dislike of romanticism is the rage of Caliban not seeing his own face in a glass. The moral life of man forms part of the subject-matter of the artist, but the morality of art consists in the perfect use of an imperfect medium. No artist desires to prove anything. Even things that are true can be proved. No artist has ethical sympathies. An ethical sympathy in an artist is an unpardonable mannerism of style. No artist is ever morbid. The artist can express everything. Thought and language are to the artist instruments of an art. Vice and virtue are to the artist materials for an art. From the point of view of form, the type of all the arts is the art of the musician. From the point of view of feeling, the actor's craft is the type. All art is at once surface and symbol. Those who go beneath the surface do so at their peril. Those who read the symbol do so at their peril. It is the spectator, and not life, that art really mirrors. Diversity of opinion about a work of art shows that the work is new, complex, and vital. When critics disagree, the artist is in accord with himself. We can forgive a man for making a useful thing as long as he does not admire it. The only excuse for making a useless thing is that one admires it intensely.
All art is quite useless.”
― The Picture of Dorian Gray
The highest as the lowest form of criticism is a mode of autobiography. Those who find ugly meanings in beautiful things are corrupt without being charming. This is a fault.
Those who find beautiful meanings in beautiful things are the cultivated. For these there is hope. They are the elect to whom beautiful things mean only beauty.
There is no such thing as a moral or an immoral book. Books are well written, or badly written. That is all.
The nineteenth century dislike of realism is the rage of Caliban seeing his own face in a glass.
The nineteenth century dislike of romanticism is the rage of Caliban not seeing his own face in a glass. The moral life of man forms part of the subject-matter of the artist, but the morality of art consists in the perfect use of an imperfect medium. No artist desires to prove anything. Even things that are true can be proved. No artist has ethical sympathies. An ethical sympathy in an artist is an unpardonable mannerism of style. No artist is ever morbid. The artist can express everything. Thought and language are to the artist instruments of an art. Vice and virtue are to the artist materials for an art. From the point of view of form, the type of all the arts is the art of the musician. From the point of view of feeling, the actor's craft is the type. All art is at once surface and symbol. Those who go beneath the surface do so at their peril. Those who read the symbol do so at their peril. It is the spectator, and not life, that art really mirrors. Diversity of opinion about a work of art shows that the work is new, complex, and vital. When critics disagree, the artist is in accord with himself. We can forgive a man for making a useful thing as long as he does not admire it. The only excuse for making a useless thing is that one admires it intensely.
All art is quite useless.”
― The Picture of Dorian Gray
Q&A with Cassandra Clare
— 2124 members
— last activity Sep 04, 2025 09:36AM
Join bestselling author Cassandra Clare as she discusses her new book Clockwork Angel, the first installment of the new Infernal Devices series. This ...more
Abbey’s 2025 Year in Books
Take a look at Abbey’s Year in Books, including some fun facts about their reading.
10,168 books
|
853 friends
529 books
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7 friends
712 books
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133 friends
1,068 books
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105 friends
2,620 books
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466 friends
413 books
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73 friends
790 books
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70 friends
956 books
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35 friends
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