Voice Quotes - Page 154

It was always late at night, when everything and everyone else was quiet, that those voices would rise like ghosts, soft and haunting, filling your mind until sleep finally came.

And that was as far as he got before i heard it. The thumping of footsteps, running up the lawn toward me: It seemed like I could hear it through the grass, like leaning your ear to a railroad track and feeling the train coming, miles away. As the noise got closer I could hear ragged breaths, and then a voice. It was my mother.

You don't have to say it out loud. I already know why you like me.' 'You do, huh?' 'Yep.' He wrapped his arms around my waist, pulling me closer. 'So,' I said. 'Tell me' 'It's an animal attraction,' he said simply. 'Totally chemical.' 'Hmm,' I said. 'You could be right.' 'It doesn't matter, anyway, why you like me.' 'No?' 'Nope.' His hands were in my hair now, and I was leaning in, not able to totally make out his face, but his voice was clear, close to my ear. 'Just that you do.

There's a kind of radar that you get, after years of being talked about and made fun of by other people. You can almost smell it when it's about to happen, can recognize instantly the sound of a hushed voice, lowered just enough to make whatever is said okay. I had only been in Colby for a few weeks. But I had not forgotten.

"I just don't know," I said, my voice sounding bumby, not like mine, "how do you help someone who doesn't want your help. What do you do when you can't do anything?"

Lissa lowered her voice and added, "I might not even go to school anyway. I might defer and join the Peace Corps and go to Africa and shave my head and dig latrines." "Shave your head?" I said, because, really, this was the most ludicrous part of the whole thing. "You? Do you have any idea how ugly most people's bare heads are? They've got all kinds of bumps, Lissa. And you won't know until it's too late and you're flat-out bald.

That sucks, though," Wes said finally, his voice low. "You're just setting yourself up to fail, because you'll never get everything perfect." "Says who?" He just looked at me. "The world," he said, gesturing all around us, as if this party, this deck encompassed it all. "The universe. There's just no way. And why would you want everything to be perfect, anyway?" "I don't want everything to be perfect," I said. Just me, I thought. Somehow. "I just want—

Opera is everything rolled into one - music, theater, the dance, color and voices and theatrical illusions.

I think that it is always hard to find two voices that fit together well.

I feel a tremendous sense of accomplishment. Everything is in tune: the voice, the type of music, who I am and who people think I am.

Sometimes you want to hear your own mother's voice.

I tried his cell over and over but he never answered. Then I’d call just to hear his voice on the outgoing message, until eventually that was gone too.

I was a 'learn by doing' writer - I never took any formal writing classes. So it took a long time to figure things out and find my voice.

If a little voice in your head is telling you something is up, maybe you should listen.

I look at the great poets of the Soviet Union, like Anna Akhmatova, who endured far worse then anything we've seen or hopefully that we will ever see. If they could keep writing and keep a voice alive, keep people hopeful through their poetry, then I would be ashamed to stop and to give in. It would be really self-indulgent, unacceptable, and inexcusable to walk away from it.

Some artists approach their 'why?' intuitively, and work toward giving it a voice through their technical skill. Others begin as technicians, and develop, or discover, their 'why?' as they become stronger communicators.

Ah! from the soul itself must issue forth A light, a glory, a fair luminous cloud Enveloping the Earth And from the soul itself must there be sent A sweet and potent voice, of its own birth Of all sweet sounds the life and element!

If you get mad about how your voice sounds when it comes out of your own mouth, it's not really my fault. Go ahead and be yourself.

My writing voice is a little quirkier, more singer-songwriter-y than the Top 40 stuff I cover.

One of the things I love about translation is it obliterates the self. When I'm trying to figure out what Tu Fu has to say, I have to kind of impersonate Tu Fu. I have to take on, if you will, his voice and his skin in English, and I have to try to get as deeply into the poem as possible. I'm not trying to make an equivalent poem in English, which can't be done because our language can't accommodate the kind of metaphors within metaphors the Chinese written language can, and often does, contain.

The whole thing of singing on my own has been accidental and random. I sang a huge amount as a kid, and I was a boy soprano. I didn't do that much classical music; I did a little bit. I had a lovely voice. And then when my voice dropped, I didn't worry about it consciously because I wasn't that invested in my singing at the time.

The reason I don't want to say anything about it is it has a strange power to take over the conversation. Just like it's doing with us. I was asked to participate in a documentary about Richard Prince, and be the voice of someone who was appropriated, and I declined. The reason I did is I don't want it to be the subject of the discussion of my work.

Raif Badawi's is an important voice for all of us to hear.

Literature is the one place in any society where, within the secrecy of our own heads, we can hear voices talking about everythingin every possible way. The reason for ensuring that that privileged arena is preserved is not that writers want the absolute freedom to say and do whatever they please. It is that we, all of us, readers and writers and citizens and generals and goodmen, need that little, unimportant-looking room. We do not need to call it sacred, but we do need to remember that it is necessary.

If Islam is to be reconciled with modernity, these voices must be encouraged until they swell into a roar.