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“There is a lot of folklore about equestrian statues, especially the ones with riders on them. There is said to be a code in the number and placement of the horse's hooves: If one of the horse's hooves is in the air, the rider was wounded in battle; two legs in the air means that the rider was killed in battle; three legs in the air indicates that the rider got lost on the way to the battle; and four legs in the air means that the sculptor was very, very clever. Five legs in the air means that there's probably at least one other horse standing behind the horse you're looking at; and the rider lying on the ground with his horse lying on top of him with all four legs in the air means that the rider was either a very incompetent horseman or owned a very bad-tempered horse.”
― Terry Pratchett, I Shall Wear Midnight

“I once asked a young dissertation writer whether her suddenly grayed hair was due to ill health or personal tragedy; she answered: “It was the footnotesâ€�.”
― Joanna Russ, How to Suppress Women's Writing

“Literature is the original Internet â€� every footnote, every citation, every allusion is essentially a hyperlink to another text, to another mind.”
― Maria Popova

“I challenge you to find a more innocuous sentence containing the words sperm, suction, swallow, and any homophone of seaman. And then call me up on the homophone and read it to me.”
― Mary Roach, Gulp: Adventures on the Alimentary Canal

“Meaning 'by way of the anus'. 'Per Annum', with two n's, means 'yearly'. The correct answer to the question, 'What is the birthrate per anum?' is zero (one hopes).”
― Mary Roach, Gulp: Adventures on the Alimentary Canal

“One cannot write about Jonathan Strange and Mr. Norrell without considering the footnotes. The experienced reader is conditioned to see footnotes as dry, as a way of grounding the text in reality. But footnotes are also an intervention, or intrusion into the flow of the text, and Clarke takes advantage of this figuring. In Jonathan Strange and Mr. Norrell, it is in the footnotes that the world of the fantastic slips through to disrupt the meaning or common understanding of the tale told in the main text. The “explanationâ€� they offer is of worlds slipping between each other, of uncontrolled contact with fairy.”
― Farah Mendlesohn, Rhetorics of Fantasy

“James O. Incandenza - A Filmography
The following listing is as complete as we can make it. Because the twelve years of Incadenza'a directorial activity also coincided with large shifts in film venue - from public art cinemas, to VCR-capable magnetic recordings, to InterLace TelEntertainment laser dissemination and reviewable storage disk laser cartridges - and because Incadenza's output itself comprises industrial, documentary, conceptual, advertorial, technical, parodic, dramatic non-commercial, nondramatic ('anti-confluential') noncommercial, nondramatic commercial, and dramatic commercial works, this filmmaker's career presents substantive archival challenges. These challenges are also compounded by the fact that, first, for conceptual reasons, Incadenza eschewed both L. of C. registration and formal dating until the advent of Subsidized Time, secondly, that his output increased steadily until during the last years of his life Incadenza often had several works in production at the same time, thirdly, that his production company was privately owned and underwent at least four different changes of corporate name, and lastly that certain of his high-conceptual projects' agendas required that they be titled and subjected to critique but never filmed, making their status as film subject to controversy.”
― David Foster Wallace, Infinite Jest

“The human digestive tract is like the Amtrak line from Seattle to Los Angeles: transit time is about thirty hours, and the scenery on the last leg is pretty monotonous.”
― Mary Roach, Gulp: Adventures on the Alimentary Canal

“Moeller, who has tasted a naked Cheeto, likens it to a piece of unsweetened puffed corn cereal”
― Mary Roach, Gulp: Adventures on the Alimentary Canal

“But you can't fault me on my footnotes. I've worked hard on them and they look pretty impressive. And almost all the sources I quote actually exist. I must confess, however, that the idea of putting footnotes in chapter 5, the autobiographical chapter, started out simply as a joke. Who but a biblical scholar would think of footnoting an autobiography? But the joke quickly got out of hand and become a significant part of that chapter. I plan someday to write a scholarly article consisting of a single sentence and a twenty-page footnote.”
― Jeffrey L. Staley, Reading with a Passion: Rhetoric, Autobiography, and the American West in the Gospel of John

“The great scholarly or anecdotal footnotes of Lecky, Gibbon, or Boswell, written by the author of the book himself to supplement, or even correct over several later editions, what he says in the primary text, are reassurances that the pursuit of truth doesn't have clear outer boundaries: it doesn't end with the book; restatement and self-disagreement and the enveloping sea of referenced authorities all continue. Footnotes are the finer-suckered surfaces that allow tentacular paragraphs to hold fast to the wider reality of the library.”
― Nicholson Baker, The Mezzanine

“You would be surprised how many ridiculous footnotes there are in my life.”
― Yoon Ha Lee, Raven Stratagem

“What can I say? I'm a girl with a healthy footnote fetish.”
― Margot Wood, Fresh

“The Arden Shakespeare is intended both as a student text and as a revision of traditional scholarship. If it is to be used in the first way, then the often narrow thread of text above a sediment of footnotes, something Dr Leavis so deplored, can prove debilitating. Poems, especially the classics of our language, should be read headlong. Dubieties may be looked up later.”
― Peter Porter

“It's called the FATLOSE trail. FATLOSE stands for 'Fecal Administration To LOSE weight,' an example of PLEASE— Pretty Lame Excuse for an Acronym, Scientists and Experimenters.”
― Mary Roach, Gulp: Adventures on the Alimentary Canal

“There is voluminous evidence that exclusive reliance on heuristic processing tendencies of Type I sometimes results in suboptimal responding (Baron, 2008; Evans, 2007a; Gilovich, Griffin, & Kahneman, 2002; Johnson-Laird, 2006; Kahneman & Tversky, 1973, 1996, 2000; Koehler & Harvey, 2004; Nickerson, 2004, 2008; Nisbett & Ross, 1980; Tversky & Kahneman, 1974, 1983, 1986) and that such thinking errors are not limited to the laboratory (Ariely, 2008; Ã…stebro, Jeffrey, & Adomdza, 2007; Baron, 1998; Baron, Bazerman, & Shonk, 2006; Belsky & Gilovich, 1999; Berner & Graber, 2008; Camerer, 2000; Chapman & Elstein, 2000; Croskerry, 2009a, 2009b; Dawes, 2001; Hilton, 2003; Kahneman & Tversky, 2000; Lichtenstein & Slovic, 2006; Lilienfeld, Ammirati, & Landfield, 2009; Myers, 2002; Prentice, 2003; Reyna et al., 2009; Stewart, 2009; Sunstein, 2002, 2005; Taleb, 2001, 2007; Tavris & Aronson, 2007; Tetlock, 2005; Thaler & Sunstein, 2008; Ubel, 2000).”
― Keith E. Stanovich, Rationality and the Reflective Mind

“Boswell, like Lecky (to get back to the point of this footnote), and Gibbon before him, loved footnotes. They knew that the outer surface of truth is not smooth, welling and gathering from paragraph to shapely paragraph, but is encrusted with a rough protective bark of citations, quotations marks, italics, and foreign languages, a whole variorum crust of "ibid.'s" and "compare's" and "see's" that are the shield for the pure flow of argument as it lives for a moment in one mind. They knew the anticipatory pleasure of sensing with peripheral vision, as they turned the page, gray silt of further example and qualification waiting in tiny type at the bottom. (They were aware, more generally, of the usefulness of tiny type in enhancing the glee of reading works of obscure scholarship: typographical density forces you to crouch like Robert Hooke or Henry Gray over the busyness and intricacy of recorded truth.) They liked deciding as they read whether they would bother to consult a certain footnote or not, and whether they would read it in context, or read it before the text it hung from, as an hors d'oeuvre. The muscles of the eye, they knew, want vertical itineraries; the rectus externus and internus grow dazed waggling back and forth in the Zs taught in grade school: the footnote functions as a switch, offering the model-railroader's satisfaction of catching the march of thought with a superscripted "1" and routing it, sometimes at length, through abandoned stations and submerged, leaching tunnels. Digression—a movement away from the gradus, or upward escalation, of the argument—is sometimes the only way to be thorough, and footnotes are the only form of graphic digression sanctioned by centuries of typesetters. And yet the MLA Style Sheet I owned in college warned against lengthy, "essay-like" footnotes. Were they nuts? Where is scholarship going?”
― Nicholson Baker, The Mezzanine

“Poor Zora â€� she lived through footnotes.”
― Zadie Smith, On Beauty

“By his account, Faquarl’s first summoning was in Jericho, 3015 BC, approximately five years before my initial appearance in Ur. This “made him, allegedly, the ‘seniorâ€� djinni in our partnership. However, since Faquarl also swore blind he’d invented hieroglyphs by ‘doodling with a stick in the Nile river-mudâ€� and claimed to have devised the abacus by impaling two dozen imps along the branches of an Asiatic cedar, I regarded all his stories with a certain scepticism.”
― Jonathan Stroud, The Ring of Solomon

“Much of what I write about is something I experienced and the rest can be found in academic books that are footnoted. What is not usually found in academic books is s-x or s-xual situations. We all know that s-x existed in the past but few writers include it in their books but again don’t look for me to footnote any of these happenings but it’s all true or at least fact based!”
― Captain Hank Bracker, "Salty & Saucy Maine",

“Your faith is on your chair, my faith is on my foot”
― P.S. Jagadeesh Kumar

“A fairy ring, it stated, is very much like a doorway, and in several cultures it is perfectly acceptable to knock. Though most American and American-antecedent ethnicities do not practice such summoning, some bargaining cultures did, or do, practice the art.
Alaine skimmed several photographs describing Sicilian stories of joining with fairies to battle witches and the Scottish worship of nature spirits, none of which seemed particularly relevant. She was growing frustrated at the author's apparent disregard for the separation between folktale and true practice when the chapter settled on a long description.
Recent research into English witch trials have revealed a connection between bargaining culture and some occult forms of practice in which fairies are ritualistically summoned. Though some equate the practice with the concept of a "witch's familiar"... Here Alaine began to skim again until the author found himself back on track. Interviewees from several small villages recall stories that those bold enough to enter a fairy ring could summon a fairy by placing a silver pin in the center of the ring, repeating an incantation such as "a pin to mark, a pin to bind, a pin to hail" (additional variants found in Appendix E), and circling the interior of ring three times. It remains, of course, impossible to test the veracity of such stories, but the consistency of the methodology across geographical regions is intriguing, down to the practice of carrying a small bunch or braid of mint into the ring.
Alaine shut the book on her finger, marking the spot. Impossible to rest, indeed. She opened the book again. It began a long ramble detailing various stories of summoning, but Alaine didn't need the repetition to know the method. A short footnote added that Mint appears to serve in the stories as both attractant and repellant for the fairy creatures, drawing them to the summoner but preventing from being taken unwilling into Fae, unlike tobacco and various types of sage, which are merely deterrents.”
― Rowenna Miller, The Fairy Bargains of Prospect Hill

“Jane and Noah fell silent as she opened it to the first page, a vibrant watercolor of a forest-green shrub laden with dark purple fruits, with the fruits shown in detail in a separate drawing. 'Aristotelia chilensis--- maqui berries,' said Jane. 'Full of antioxidants and touted as a "superfood" now.'
There was a note in pencil at the bottom of the page. 'Leaves used for brewing chicha,' Noah read. 'Whatever that is. "Sore throats, heals wounds, painkiller",' he continued. 'Extraordinary. I can't believe the condition it's in. It's scarcely aged at all.'
He turned the page to find a painting of a tall, oak-like tree with dark brown bark, oval-shaped green leaves and dense white flowers. 'Quillaja saponaria--- soapbark,' he read. 'Native soap, for the lungs and good health.”
― Kayte Nunn, The Botanist's Daughter