Though your views are in straight antagonism to theirs, assume an identity of sentiment, assume that you are saying precisely thatwhich all think, and in the flow of wit and love roll out your paradoxes in solid column, with not the infirmity of a doubt.
Its such a paradox. You come from this place where you want fame; you dont want to be bourgeois, but you want to be successful. You want to be accepted, but you also want to be going against the grain. You want to be on the outside, but you want to be on the inside.
If anyone e-mails you something "by George Carlin," there's a 99 percent chance I did not write it. I didn't write "Paradox Of Our Time." I didn't write "George Carlin On Aging." I didn't write a eulogy for my wife after she died. I didn't write the New Orleans thing. I didn't write "I Am A Bad American." None of them. You know what I've decided to do? I'm going to get a little cheap put-it-together-yourself website called NotMe.com.
Virtually all political discourse in the days of my youth was devoted to the ferreting out of hypocrisy... Because they were hypocrites, the Victorians were despised in the late twentieth century. Many of the persons who held such opinions were, of course, guilty of the most nefarious conduct themselves, and yet saw no paradox in holding such views because they were not hypocrites themselves-they took no moral stances and lived by none.
When you go into a movie and you're surprised by it - these days with brand recognition being such an important thing and essentially trailers, the way trailers have evolved encouraging people not to see the film unless they've already seen the film which is kind of the paradox of marketing these days anytime that you enjoy genuine sense of wonder and surprise in the movies it's priceless.
You are not supposed to get it. It's a paradox. All of mathematics is built on paradoxes. That's the biggest paradox of all-all this orderliness, and at the heart, impossibility. Contradiction. Heaven built on the foundations of hell.
I learned to make my mind large, as the universe is large, so that there is room for paradoxes. Petals are bone marrow; pearls come from oysters. The dragon lives in the sky, ocean, marshes, and mountains; and the mountains are also its cranium. Its voice thunders and jingles like copper pans. It breathes fire and water; and sometimes the dragon is one, sometimes many.
It is one of the paradoxes of parenting, and often a painful paradox, that even as our children need us for love and trust, they also need us for honest differing. It's not only over limits and rules...[but also] about what we represent in the way of culture, traditions, and values. We owe it to our children to let them know what we believe, and if they differ with us, we owe it to them to be honest adversaries, for it is through this honest confrontation that children can grow into adults who have a firm sense of their place in the sequence of the generations.
We live in a polarized world of contrived dualisms, dichotomies and paradoxes: light vs. dark and good vs. evil. We as Mexic Amerindians/mestizas are the dark. We are the evilor at least, the questionable.
How is it possible on the one hand, for example, to behave as if nothing on earth were more important than literature, and on the other fail to see that wherever one looks, people are struggling against hunger and will necessarily consider that the most important thing is what they earn at the end of the month? Because this is where he (the writer) is confronted with a new paradox: while all he wanted was to write for those who are hungry, he now discovers that it is only those who have plenty to eat who have the leisure to take notice of his existence.
One man's antinomy is another man's falsidical paradox, give or take a couple of thousand years.
The dominant metaphor of conceptual relativism, that of differing points of view, seems to betray an underlying paradox. Differentpoints of view make sense, but only if there is a common co-ordinate system on which to plot them; yet the existence of a common system belies the claim of dramatic incomparability.
The paradox of publicity is that even as we do it, we know it's killing off the chance of another reader happening across our book in the ideal state of innocence.
No matter what you’re feeling, the only way to get a difficult feeling to go away is simply to love yourself for it. If you think you’re stupid, then love yourself for feeling that way. It’s a paradox, but it works. To heal, you must be the first one to shine the light of compassion on any areas within you that you feel are unacceptable.
The twisty nature of psychic attack - are you being attacked, or did you bring this attack on yourself? - speaks to me of an American cultural paradox we all grapple with. There's the rampant litigiousness of our society, and the desire to blame others for our misfortunes.
Many cherish the idea that a photograph is an exact presentment of nature, and accept without question the paradox that a photograph cannot lie. Actually there never was a more unmitigated liar.
The paradox of the culture wars is that they have made celebrities out of some artists who would otherwise vanish. Censorship has become a growth industry. This may be the best argument, in the end, for unfettered freedom of expression.
This is the pedagogical paradox. The person and the teacher is required precisely because the knowledge itself is nontransferable from teacher to student.
Love is the bridge that leads from the I sense to the We, and there is a paradox about personal love. Love of another individual opens a new relation between the personality and the world. The lover responds in a new way to nature and may even write poetry. Love is affirmation; it motivates the yes responses and the sense of wider communication. Love casts out fear, and in the security of this togetherness we find contentment, courage. We no longer fear the age-old haunting questions: "Who am I?" "Why am I?" "Where am I going?" - and having cast out fear, we can be honest and charitable.
Ultimately, any character you write - no matter how fantastic or alien - is an extension of yourself. When our characters reflect the truth of our souls and psyches, they become real and compelling. The wonderful paradox is that the characters then take on lives of their own, separate from their creators. That's where the magic comes in.
I've always tried to write California history as American history. The paradox is that New England history is by definition national history, Mid-Atlantic history is national history. We're still suffering from that.
One of the ideals [Margaret Thatcher] grew up with was self-denial and postponement of gratification, and yet she went about to create a greedy, short-term society. It is a paradox.
One [paradox] is that pornography follows in that wake of women's liberation. The first instances of hard-core pornography were in late 18th-century in France, "the Golden Age of Women." The next wave in the 20th century comes from Sweden, one of the first countries where women voted. Then Germany, again, at the forefront of progress. Then America in the '80s, when women were closing the pay gap. And Japan, same thing.
There is, in fact, a paradox about working to serve the community, and it is this: that to aim directly at serving the community is to falsify the work; the only way to serve the community is to forget the community and serve the work.
What interests me is the following paradox: of how, precisely in our liberal societies, where no one can even imagine a transcendental cause for which to die, we are allowed to adopt a hedonistic, utilitarian, or even more spiritually egotistical stance - like, the goal of my life is the realization of all my potential, fulfillment of my innermost desires, whatever you want.
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