This unlikely story begins on a sea that was a blue dream, as colorful as blue-silk stockings, and beneath a sky as blue as the irises of children's eyes.
Interpretation
The quote evokes a vivid, dreamlike imagery of a beautiful sea and sky, symbolizing innocence and wonder.
F. Scott Fitzgerald's quote paints a picturesque scene that blends the beauty of nature with the innocence of childhood. It suggests that life can be filled with extraordinary moments that resonate with our emotions, and the use of color and imagery reflects both dreams and nostalgia, connecting the vastness of the sea with the wide-eyed curiosity of children.
In practice
In a poetry reading, this quote can be used to illustrate the beauty of nature.
Don't be so anxious about it,' she laughed. 'I'm not used to being loved. I wouldn't know what to do; I never got the trick of it.' She looked down at him, shy and fatigued. 'So here we are. I told you years ago that I had the makings of Cinderella.' He took her hand; she drew it back instinctively and then replaced it in his. 'Beg your pardon. Not even used to being touched. But I'm not afraid of you, if you stay quiet and don't move suddenly.
The test of a first-rate intelligence is the ability to hold two opposed ideas in mind at the same time and still retain the ability to function.
It was about then [1920] that I wrote a line which certain people will not let me forget: "She was a faded but still lovely woman of twenty-seven."
The words seemed to bite physically into Gatsby.
But you can love more than just one person, can't you?
A sudden gust of rain blew over them and then another - as if small liquid clouds were bouncing along the land. Lightning entered the sea far off and the air blew full of crackling thunder. The table cloths blew around the pillars. They blew and blew and blew. The flags twisted around the red chairs like live things, the banners were ragged, the corners of the table tore off through the burbling billowing ends of the cloths.
Some writers take to drink, others take to audiences.
I think that at a certain age, say fifteen or sixteen, poetry is like masturbation. But later in life good poets burn their early poetry, and bad poets publish it. Thankfully I gave up rather quickly.
Every film is a political act; it's how you see the world.
I was a product of Andy Warhol's Factory. All I did was sit there and observe these incredibly talented and creative people who were continually making art, and it was impossible not to be affected by that.
Liquid architecture. It's like jazz - you improvise, you work together, you play off each other, you make something, they make something. And I think it's a way of - for me, it's a way of trying to understand the city, and what might happen in the city.
Weirdly enough, if I'm having trouble with a guitar part - not the playing of it but the writing - I'll mess around with echo and other effects, just turn everything up and make it as crazy as can be, and it winds up taking me somewhere. I've found so many guitar parts from echo. It's limitless.
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