| Words |
Utterer |
Where & When |
| You've
got to keep your beam and stay tweezered |
Ian Dury |
Page 12,
NEW MUSICAL EXPRESS September 11th, 1976 |
| Watch
your topknot – and keep your eye to the skyline. |
Jeremiah
Johnson |
or
Captain Beefheart's (Don Van Vliet) farewell to Drumbo |
| Mr.
Farebrother, my dear sir, is a man deeply painful to
contemplate |
Mr.
Bulstrode |
Chapter 13, Middlemarch by George Elliot |
| He
is not indeed an author adapted to superficial minds |
Mr.
Casaubon on Aquinas |
Ch 28
Middlemarch |
| I
trust I may be excused ... and especially from guests
whose desultory vivacity makes their presence a
fatigue. |
Mr. Casaubon | Ch 29 Middlemarch |
| I
don’t know enough about wavelets to hate them… |
Anon. |
I don't
remember, I can't recall. |
| Chris
de B…..???? Are you mad? Do I seriously look like someone who would work with Chris de Burgh?? |
Tim
Friese-Greene (ex- Talk Talk) |
Bombay
Arts Review |
| ...it
is never too early of a morning for sapient colloquy. Likewise, never is it too late of an evening either. |
Good
Fairy |
At
Swim-Two-Birds by Flann O'Brien |
| Words
whose utter inanity proved his insanity |
Narrator
on The Banker's Fate |
Fit the
Seventh, The Hunting of the Snark by Lewis Carroll |
| The evolution of
the brain not only overshot the needs of prehistoric
man, it is the only example of evolution providing a
species with an organ which it does not know how to
use. |
Arthur Koestler | The Ghost
in the Machine (1967) |
| A
scientific truth does not triumph by convincing its
opponents and making them see the light, but rather
because it’s opponents simply die off. Science
progresses one funeral at a time. |
Max
Planck |
Scientific Autobiography and Other Papers, circa 1949 |
| Don’t
worry about people stealing your ideas. If it’s
original, you’ll have to ram it down their throats |
Howard
Aiken |
|
| The more original a discovery, the more obvious it seems afterward | Arthur Koestler | |
|
'Purple?'
'Yes . . .'
(Beede yanked on his trusty, old pair of mental
crampons and kicked them, grimly, into the vertical
rockface of his self-control).
'Yes. Purple.' |
Narrator |
Darkmans
by Nicola Barker |
| With
a roof over his head he had ceased work, living off
his pension and his wits, both hopelessly inadequate |
Narrator
on Milligan |
Chapter
1, Puckoon by Spike Milligan |
| Los
Angeles (“zombie central,” sniffs Adam) |
Adam |
Only
Lovers Left Alive by Jim Jarmusch |
| He
did not look at Shiner anymore. He hadn't looked in
three years. Once you'd looked, there was nothing else
to know. You'd know his bone marrow in a beaker. |
Narrator |
Cosmopolis
by Don Delillo |
|
"True creativity often starts where language ends." |
Arthur Koestler | |
| Keep saying nothing. | Joe Larkin Snr | The Prince of Orange (Public House) |
| Can
you, for a moment, imagine how depressing it is to
teach five centuries of masculine ineptitude? |
Mrs. Lintott | The
History Boys by Alan Bennett |
| The
fact that the author thinks slowly is not serious, but
the fact that he publishes faster than he thinks is
inexcusable |
Wolfgang
Pauli |
|
| Success
is the ability to go from one failure to another with
no loss of enthusiasm. |
Winston
Churchill |
|
| Minimalism is a wonderful thing, but you can have too much of it. | Tim
Friese-Greene |
Bombay
Arts Review |