All Quotes

"Look up here, I’m in heaven I’ve got scars that can’t be seen I’ve got drama, can’t be stolen Everybody knows me now Look up here, man, I’m in danger I’ve got nothing left to lose I’m so high it makes my brain whirl Dropped my cell phone down below Ain’t that just like me"

"This way or no way You know, I’ll be free Just like that bluebird Now ain’t that just like me"

"Saying more and feeling less Saying no but meaning yes This is all I ever meant That's the message that I sent"

"I met him only once, it was 1973 or 1974. I was the producer of a record of a folk-rock band Steeleye Span. They wanted David Bowie to play a sax solo on one of the songs. I managed to get his phone number, I called him and said 'You don't know me, but some people which album I'm producing ask you if you'd like to play sax for them'. And Bowie asked - 'Okay, where and when?'. I replied - 'Whenever you can'. And he said - '3 o'clock this afternoon?'. I was frightened and thought he'd want 2000£ for that. He came at 3, smiling. He played just like we wanted, never asking about money, then shook everyone's hand and left. It was the only time we met. David taught me one beautiful thing. If you can and want to help somebody, do it for free. That's why I never asked anyone for money. By lending a hand in that way you give just a bit of what you do in your life."

"There is a glimmer of hope in the choice to quote an old song about new beginnings, and it isn't the only moment on the album that suggests a cycle of death and rebirth. Buried in the bleakness of "Blackstar" is an airy, suspiciously earnest passage that imagines the transmigration of souls: "Something happened on the day he died / Spirit rose a meter and stepped aside / Somebody else took his place and bravely cried / 'I'm a black star.'" Bowie nearly became a Buddhist monk when he was 19, and he specified in his will that his ashes should be scattered "in accordance with the Buddhist rituals." It's quite possible that he believed in reincarnation"

"David Bowie had everything. He was intelligent, imaginative, brave, charismatic, cool, sexy and truly inspirational both visually and musically. He created such staggeringly brilliant work, yes, but so much of it and it was so good. There are great people who make great work but who else has left a mark like his? No one like him."

"While a majority of posthumous music is released by an artist's estate, David Bowie organized new music to be released after his death himself. Bowie believed in reincarnation, and through the evolution of his many different personas and music styles, he became the king of reinvention. First he was a folk singer, then a glam rocker, next he was a new romantic; He was constantly changing and evolving in both his sound and his look."

"In my younger and more vulnerable years my father gave me some advice that I've been turning over in my mind ever since. "Whenever you feel like criticizing any one," he told me, "just remember that all the people in this world haven’t had the advantages that you’ve had.""

"No—Gatsby turned out all right at the end; it is what preyed on Gatsby, what foul dust floated in the wake of his dreams that temporarily closed out my interest in the abortive sorrows and short-winded elations of men."

"I was rather literary in college […] and now I was going to bring back all such things into my life and become again that most limited of all specialists, the "well-rounded man." This isn’t just an epigram — life is much more successfully looked at from a single window, after all."

"In two weeks it'll be the longest day in the year." She looked at us all radiantly. "Do you always watch for the longest day of the year and then miss it? I always watch for the longest day in the year and then miss it."

"All right.[…] I'm glad it's a girl. And I hope she'll be a fool — that's the best thing a girl can be in this world, a beautiful little fool."

"This is a valley of ashes—a fantastic farm where ashes grow like wheat into ridges and hills and grotesque gardens, where ashes take the forms of houses and chimneys and rising smoke and finally, with a transcendent effort, of men who move dimly and already crumbling through the powdery air. Occasionally a line of gray cars crawls along an invisible track, gives out a ghastly creak, and comes to rest, and immediately the ash-gray men swarm up with leaden spades and stir up an impenetrable cloud, which screens their obscure operations from your sight. But above the gray land and the spasms of bleak dust which drift endlessly over it, you perceive, after a moment, the eyes of Doctor T. J. Eckleburg. The eyes of Doctor T. J. Eckleburg are blue and gigantic—their retinas are one yard high."

""I married him because I thought he was a gentleman," she said finally."

"I wanted to get out and walk eastward toward the park through the soft twilight, but each time I tried to go I became entangled in some wild, strident argument which pulled me back, as if with ropes, into my chair. Yet high over the city our line of yellow windows must have contributed their share of human secrecy to the casual watcher in the darkening streets, and I was him too, looking up and wondering. I was within and without, simultaneously enchanted and repelled by the inexhaustible variety of life."

"People disappeared, reappeared, made plans to go somewhere, and then lost each other, searched for each other, found each other a few feet away."

"In his blue gardens men and girls came and went like moths among the whisperings and the champagne and the stars."

"On Sunday morning while church bells rang in the villages alongshore, the world and its mistress returned to Gatsby's house and twinkled hilariously on his lawn."

"[Gatsby] was balancing himself on the dashboard of his car with that resourcefulness of movement that is so peculiarly American — that comes, I suppose, with the absence of lifting work or rigid sitting in youth and, even more, with the formless grace of our nervous, sporadic games. This quality was continually breaking through his punctilious manner in the shape of restlessness. He was never quite still; there was always a tapping foot somewhere or the impatient opening and closing of a hand."

"Over the great bridge, with the sunlight through the girders making a constant flicker upon the moving cars, with the city rising up across the river in white heaps and sugar lumps all built with a wish out of non-olfactory money. The city seen from the Queensboro Bridge is always the city seen for the first time, in its first wild promise of all the mystery and the beauty in the world."

"There are no exact guidelines. There are probably no guidelines at all. The only thing I can recommend at this stage is a sense of humor, an ability to see things in their ridiculous and absurd dimensions, to laugh at others and at ourselves, a sense of irony regarding everything that calls out for parody in this world. In other words, I can only recommend perspective and distance. Awareness of all the most dangerous kinds of vanity, both in others and in ourselves. A good mind. A modest certainty about the meaning of things. Gratitude for the gift of life and the courage to take responsibility for it. Vigilance of spirit."

"Seemingly endless negotiations finally led to the division of Czechoslovakia. It had one great advantage: it proceeded calmly, without violence, major conflicts, or significant unsolved issues. This unusually positive split brought us worldwide respect. But it also had one disadvantage: a matter of such importance as the division of a country into two new ones was not decided by the citizens in a referendum, as would be appropriate in a democratic society. Rather, it was mostly treated as a technical matter, almost as if it were an accounting operation. Perhaps for this reason, the end of Czechoslovakia was accompanied by an unpleasant aftertaste and awkward feelings. No significant part of the citizenry protested the division then, but no significant part celebrated it either. It was as if there was nothing to say, as if the public had more or less breathed a sigh of relief at the endless, traumatizing bargaining finally being behind us. All that is now long-gone — is history — and after all this time, I can not help but feel that no matter how queerly it happened then, it is a good thing that it happened. Evidently, most peoples must taste full statehood for at least a while in order to learn to cooperate with others. Czechs and Slovaks may be closer today than ever before. There is no animosity, and they are united in their goals: to fully participate in the European and global integration processes and, in their own interest, to gradually forsake some of their countries' sovereignty in favor of increasing influence in the life of communities vastly larger and more powerful than countries are. We live in an interconnected world, and we — Czechs and Slovaks — walk hand in hand in it. And that, of course, is what is most important."

"The only lost cause is one we give up on before we enter the struggle."

"Isn't it the moment of most profound doubt that gives birth to new certainties? Perhaps hopelessness is the very soil that nourishes human hope; perhaps one could never find sense in life without first experiencing its absurdity. . ."

"Those that say that individuals are not capable of changing anything are only looking for excuses."

"Vaclav Havel was one of the greatest Europeans of our age. His voice for freedom paved way for a Europe whole and free."

"As soon as man began considering himself the source of the highest meaning in the world and the measure of everything, the world began to lose its human dimension, and man began to lose control of it."

"If the world is to change for the better it must start with a change in human consciousness, in the very humanness of modern man."

"It's not true that you should first think up an idea for a better world and only then "put it into practice," but, rather, through the fact of your existence in the world, you create the idea or manifest it — create it, as it were, from the "material of the world," articulate it in the "language of the world.""

"The most important thing is that man should be the measure of all structures, including economic structures, and not that man be made to measure for those structures. The most important thing is not to lose sight of personal relationships — i.e., the relationships between man and his co-workers, between subordinates and their superiors, between man and his work, between this work and its consequences.""

"A genuinely fundamental and hopeful improvement in "systems" cannot happen without a significant shift in human consciousness."

"Anyone who takes himself too seriously always runs the risk of looking ridiculous; anyone who can consistently laugh at himself does not."

"I think theatre should always be somewhat suspect."

"Modern man must descend the spiral of his own absurdity to the lowest point; only then can he look beyond it. It is obviously impossible to get around it, jump over it, or simply avoid it."

"The role of the writer is not simply to arrange Being according to his own lights; he must also serve as a medium to Being and remain open to its often unfathomable dictates. This is the only way the work can transcend its creator and radiate its meaning further than the author himself can see or perceive."

"The truth is not simply what you think it is; it is also the circumstances in which it is said, and to whom, why, and how it is said."

"The real test of a man is not how well he plays the role he has invented for himself, but how well he plays the role that destiny assigned to him."

"None of us know all the potentialities that slumber in the spirit of the population, or all the ways in which that population can surprise us when there is the right interplay of events."

"We introduced a new model of behavior: don't get involved in diffuse general ideological polemics with the center, to whom numerous concrete causes are always being sacrificed; fight "only" for those concrete causes, and be prepared to fight for them unswervingly, to the end. In other words, don't get mixed up in backroom wheeling and dealing, but play an open game."

"The attempt to devote oneself to literature alone is a most deceptive thing, and … often, paradoxically, it is literature that suffers for it."

"Twenty or thirty years ago, in the army, we had a lot of obscure adventures, and years later we tell them at parties, and suddenly we realize that those two very difficult years of our lives have become lumped together into a few episodes that have lodged in our memory in a standardized form, and are always told in a standardized way, in the same words. But in fact that lump of memories has nothing whatsoever to do with our experience of those two years in the army and what it has made of us."

"Hope is definitely not the same thing as optimism. It is not the conviction that something will turn out well, but the certainty that something makes sense, regardless of how it turns out."

"Every concession gives rise to further concessions, we cannot back down, because behind us there is only an abyss, we must keep our promises and demand that they be kept."

"Sober perseverance is more effective than enthusiastic emotions, which are all too capable of being transferred, with little difficulty, to something different each day."

"A human action becomes genuinely important when it springs from the soil of a clearsighted awareness of the temporality and the ephemerality of everything human. It is only this awareness that can breathe any greatness into an action."

"Without the constantly living and articulated experience of absurdity, there would be no reason to attempt to do something meaningful. And on the contrary, how can one experience one's own absurdity if one is not constantly seeking meaning?"

"Drama assumes an order. If only so that it might have — by disrupting that order — a way of surprising."

"Sometimes I wonder if suicides aren't in fact sad guardians of the meaning of life."

"The cliché organizes life; it expropriates people's identity; it becomes ruler, defense lawyer, judge, and the law."

"The deeper the experience of an absence of meaning — in other words, of absurdity — the more energetically meaning is sought."