Let me tell you something that we Israelis have against Moses. He took us 40 years through the desert in order to bring us to the one spot in the Middle East that has no oil!
Golda MeirRead
The public history of modern art is the story of conventional people not knowing what they are dealing with.
Interpretation
Modern art often confounds traditional perspectives, leading to misunderstandings among conventional audiences.
Golda Meir's quote reflects the ongoing tension between conventional societal views and the innovative expressions found in modern art. It highlights how those unaccustomed to avant-garde art may struggle to comprehend its meanings and intentions, suggesting a broader commentary on the nature of artistic appreciation and understanding.
In practice
In a discussion about the evolving nature of artistic expression.
Let me tell you something that we Israelis have against Moses. He took us 40 years through the desert in order to bring us to the one spot in the Middle East that has no oil!
We don't thrive on military acts. We do them because we have to, and thank God we are efficient.
It isn't really important to decide when you are very young just exactly what you want to become when you grow up. It is much more important to decide on the way you want to live. If you are going to be honest with yourself and honest with your friends, if you are going to get involved in causes which are good for others, not only for yourselves, then it seems to me that that is sufficient, and maybe what you will be is only a matter of chance.
It is true we have won all our wars, but we have paid for them. We don't want victories anymore.
It's no accident many accuse me of conducting public affairs with my heart instead of my head. Well, what if I do?.. Those who don't know how to weep with their whole heart don't know how to laugh either.
Trust yourself. Create the kind of self that you will be happy to live with all your life.
To be true to life, a novel must have an ending that is inevitable given the specific personalities of the characters involved. The novelist must not impose an ending upon them.
Sometimes, when the material is really good, you put expectations on yourself to make it the best possible show. You're not just serving up the regular hash and doing your job and going home.
We writers, as we work our way deeper into our craft, learn to drop more and more personal clues. Like burglars who secretly wish to be caught, we leave our fingerprints on broken locks, our voiceprints in bugged rooms, our footprints in the wet concrete.
A friend of mine who is in the publishing business knew I was writing a book, and he said, 'Have you said anything yet about the good guy? Because I know you spend so much time with the bad guys.' Because they're fun. So then you have to make the good guy fun, in order to compete. That's the challenge.
Listen to the great guitarists of the Fifties. They didn't do that nasty sort of industrial distortion. They played musical compositions as solos - Scotty Moore, Cliff Gallup, Django Reinhardt. There wasn't a bad note in any of those solos. I listened to that and stayed with those rules.
Imagination is the key to my lyrics. The rest is painted with a little science fiction.
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