Shakespeare was of us, Milton was of us, Burns, Shelley, were with us. They watch from their graves!
I've always loved Mary Shelley's Frankenstein. There's this wonderful chapter in which we get a first-person account of the monster's first impressions of the world, being in the woods and taking things in. We're seeing the world as if for the first time. That's just fascinating.
It seems all "protection" has to be monitored, considered, weighed and justified - I am suggesting we do that (but it's something Mary Shelley (and Gertrude Stein) also suggest). "Torch Song," the book's final section, looks at an arson committed by someone hired to protect the wilderness from fires, a catastrophic failure of protection!
Mary Wollstonecraft Shelley (whose mother died ten days after she was born) wrote a novel that anticipates Semmelweis's discovery and serves as a parable for the destructive power of decaying matter.
The first thing that got to me was seeing David Bowie on a children's TV show, but Bowie was way beyond my aspirations. The Buzzcocks' Spiral Scratch came out in 1977 and it had a breakdown of the recording costs, then you saw Pete Shelley playing a broken guitar from Woolworths. We already had an idea of the kind of music we wanted to do, but punk showed us a way to do it.
I think our grandparents were Victor Frankenstein. I basically am the kind of deeply unnatural creature that Mrs Shelley instinctively dreaded. I not only eat her sacred cows but I eat them with ketchup. While I take her point, I think that transgressive monstrosity and tampering with the life force are both a lot more fun than she suspected.
There are people who have energy that say don't come near me, don't get too close. There's people like Adrienne Shelley who have the energy of come over here and give me a hug and if you're around me you're going to be happy about it.
I am highly susceptible to the force of all truly religious music, especially to the music of my own church, the church of Shelley, Michelangelo, and Beethoven.
One of the things in the Mary Shelley [Frankenstein] is that the creature tells his story, so this begins with the creature's point of view. So, it literally starts with the creature opening his eyes and is born - but is obviously in his 30s. But because they're the creator and the created we thought it would be really interesting if they could look at each other every other night and play each other's roles.
The second volume of Reiner Stach's epic biography of Franz Kafka . . . [is] a tangle of counter-grained and often under-sourced life stories, but reading Stach's magnificent narrative (wonderfully translated by Shelley Frisch) straight through brings death, not life, to the forefront. Stach is a compulsively readable writer. . . . [A]s in the previous volume, the prose in The Years of Insight is supple and very appealingly complex--all of which, once again, is perfectly rendered by Frisch.
Water inflated the belly Of Hart Crane, and of Shelley. Coleridge was a dope. Southwell died on a rope.
Every one of the great revolutionists, from Isaiah to Shelley, have been optimists. They have been indignant, not about the badness of existence, but about the slowness of men in realizing its goodness.
The war between authors and publishers has been a conflict of ages. On the one side, the publisher has been looked upon as a species of Wantley dragon, whose daily food was the brain and blood of hapless writers. ... On the other side, the author has been considered, like Shelley, 'an eternal child,' in all that relates to practical matters, and a terrible child at that, - incapable of comprehending details, and unreasoanably dissatisfied with results.
I had trouble hanging around [Shelley Long] until we stood onstage together, and then I was in heaven.
I was too terrified to notice she [Shelley Long] had breasts. I do remember that I was eating a sandwich.
Shelley is truth itself and honour itself notwithstanding his out-of-the-way notions about religion.
In The Shining, you love Shelley Duvall. You love Jack Nicholson. You're let into the intimacy of that violence and it's emotional and it's physical. We're let in very close. So I think a good horror film has to pull you in very deeply inside. Halloween is a good horror film because we love Jamie Lee Curtis, we're brought very deeply in right when she's babysitting the kids. She's going from house to house, all those houses have windows that you can look in. We're a very vulnerable and exposed audience.
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