True Facts Quotes
Quotes tagged as "true-facts"
Showing 1-12 of 12

“One of the most unattractive human traits, and so easy to fall into, is resentment at the sudden shared popularity of a previously private pleasure. Which of us hasn't been annoyed when a band, writer, artist or television series that had been a minority interest of ours has suddenly achieved mainstream popularity? When it was at a cult level we moaned at the philistinism of a world that didn't appreciate it, and now that they do appreciate it we're all resentful and dog-in-the-manger about it.”
― The Fry Chronicles
― The Fry Chronicles

“I really do believe that there are those who would like and trust me better if they saw me weeping into a whisky, making a fool of myself, getting aggressive, maudlin and drunkenly out of control. I have never found those states in others anything other than tiring, awkward, embarrassing and fantastically dull, but I am quite sure that people would cherish a view of me in that condition at least once in a while.”
― The Fry Chronicles
― The Fry Chronicles

“As I mentioned before, exposure to true information does not matter anymore. A person who is demoralized is unable to assess true information.”
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“Exposure to true information does not matter anymore.
A person who is demoralized is unable to assess true information.
The facts tell nothing to him.
Even if I shower him with information, with authentic proof, with documents, with pictures.
Even if I take him by force to the Soviet Union, and show him a concentration camp,
he will refuse to believe it, until he is going to receive a kick in his fat bottom.
When the military boot crushes his balls, then he will understand, but not before that.
That is the tragedy of the situation of demoralization.”
―
A person who is demoralized is unable to assess true information.
The facts tell nothing to him.
Even if I shower him with information, with authentic proof, with documents, with pictures.
Even if I take him by force to the Soviet Union, and show him a concentration camp,
he will refuse to believe it, until he is going to receive a kick in his fat bottom.
When the military boot crushes his balls, then he will understand, but not before that.
That is the tragedy of the situation of demoralization.”
―

“في السودان صراع حضارات و أديان, صراع سيطرة على الموارد الوفيرة في هذه البلاد الطيبة, متاريس مرتجلة على الأرصفة, حواجز مضادة للدبابات, أبراج مراقبة عالية تلامس السماء, فئة تحتمي بالقديسين و الأخرى بالأنبياء, غافلين عن أن الجميع خلقهم إله واحد.”
― ذبائح ملوّنة
― ذبائح ملوّنة

“I taught an introductory creative writing class at Princeton last year and, in addition to the classic ‘show don’t tell�, I often told my students that their fiction needed to have ’emotional truth� […]: a quality different from honesty and more resilient than fact, a quality that existed not in the kind of fiction that explains but in the kind of fiction that shows. All the novels I love, the ones I remember, the ones I re-read, have this empathetic human quality. And because I write the kind of fiction I like to read, when I started Half of a Yellow Sun […], I hoped that emotional truth would be its major recognizable trait. […]
Successful fiction does not need to be validated by ‘real life�; I cringe whenever a writer is asked how much of a novel is ‘real�. Yet, […] to write realistic fiction about war, especially one central to the history of one’s own country, is to be constantly aware of a responsibility to something larger than art. While writing Half of a Yellow Sun, I enjoyed playing with minor things [such as inventing a train station in a town that has none]. Yet I did not play with the central events of that time. I could not let a character be changed by anything that had not actually happened. If fiction is indeed the soul of history, then I was equally committed to the fiction and the history, equally keen to be true to the spirit of the time as well as to artistic vision of it.
The writing itself was a bruising experience. […] But there were also moments of extravagant joy when I recognized, in a character or moment or scene, that quality of emotional truth.�
In the Shadow of Biafra (essay included in the 2007 Harper Perennial edition of Half of a Yellow Sun).”
―
Successful fiction does not need to be validated by ‘real life�; I cringe whenever a writer is asked how much of a novel is ‘real�. Yet, […] to write realistic fiction about war, especially one central to the history of one’s own country, is to be constantly aware of a responsibility to something larger than art. While writing Half of a Yellow Sun, I enjoyed playing with minor things [such as inventing a train station in a town that has none]. Yet I did not play with the central events of that time. I could not let a character be changed by anything that had not actually happened. If fiction is indeed the soul of history, then I was equally committed to the fiction and the history, equally keen to be true to the spirit of the time as well as to artistic vision of it.
The writing itself was a bruising experience. […] But there were also moments of extravagant joy when I recognized, in a character or moment or scene, that quality of emotional truth.�
In the Shadow of Biafra (essay included in the 2007 Harper Perennial edition of Half of a Yellow Sun).”
―

“if you look in the mirror and see someone who is obviously overweight, that means you're fucking fat”
― Can't Hurt Me: Master Your Mind and Defy the Odds
― Can't Hurt Me: Master Your Mind and Defy the Odds
“I shook Alan’s hand and the feeling just grew stronger. It was a bit frustrating. Like when you’re looking for what to say and it’s on the tip of your tongue, but no matter how hard you try, it just keeps eluding you.”
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