We're our own dragons as well as our own heroes, and we have to rescue ourselves from ourselves.
Tom RobbinsRead
In Seattle, I soon found that my radical ideas and aesthetic explorations - ideas and explorations that in Richmond, Virginia, might have gotten me stoned to death with hush puppies - were not only accepted but occasionally applauded.
Interpretation
The quote reflects the acceptance of diverse and unconventional ideas in a different cultural context.
Tom Robbins highlights the contrast between the restrictive cultural norms in Richmond, Virginia, and the vibrant, accepting atmosphere in Seattle, where his radical ideas and artistic pursuits are celebrated. This emphasizes the importance of finding environments that nurture creativity and individuality, suggesting that one's ideas can flourish when placed in the right context.
In practice
During an art gallery opening, one might quote this to highlight the importance of innovative ideas in the creative community.
We're our own dragons as well as our own heroes, and we have to rescue ourselves from ourselves.
There are many things worth living for, a few things worth dying for, and nothing worth killing for.
The unhappy person resents it when you try to cheer him up, because that means he has to stop dwelling on himself and start paying attention to the universe. Unhappiness is the ultimate form of self-indulgence. When you're unhappy, you get to pay a lot of attention to yourself. You get to take yourself oh so very seriously.
I'm an outlaw, not a philosopher, but I know this much: there's meaning in everything, all things are connected, and a good champagne is a drink.' Bernard began to sing again. Timidly, Leigh-Cheri joined in. Between verses, they opened another bottle. The popping of its cork echoed throughout the great stone chamber. Of the three billion people on earth, only Bernard and Leigh-Cheri heard the popping of the cork and its echoes. Only Bernard and Leigh-Cheri passed out under the tablecloth.
The Divine was beyond description, beyond knowing, beyond comprehension. To say that the Divine was Creation divided by Destruction was as close as one could come to definition. But the puny of soul, the dull of wit, weren't content with that. They wanted to hang a face on the Divine. They went so far as to attribute petty human emotions - anger, jealousy, etc - to it, not stopping to realize that if God were a being, even a supreme being, our prayers would have bored him to death long ago.
On their sofas of spice and feathers, the concubines also slept fretfully. In those days the Earth was still flat, and people dreamed often of falling over edges.
One of the reasons why there are so many versions of Chekhov is that translations date in a way that the original doesn't; translations seem to be of their time.
Of course it's why you want to become a writer - because you have the liberty to do that, but once you have the liberty you also have the obligation to do it.
When I worked on a magazine, I learned that there are many, many writers writing that can't write at all; and they keep on writing all the cliches and bromides and 1890 plots, and poems about Spring and poems about Love, and poems they think are modern because they are done in slang or staccato style, or written with all the 'i's' small.
Writing should ... be as spontaneous and urgent as a letter to a lover, or a message to a friend who has just lost a parent ... and writing is, in the end, that oddest of anomalies: an intimate letter to a stranger
My metaphor for translation has always been that translation is really a performance art. You take the original and try to perform it, really, in a different medium. Part of that is about interpretation and what you think the author's voice really is.
To think in terms of what the effect of a story is going to be, as opposed to trying to discover its inner logic, is one of the fundamental dangers in the process.
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