The language of love letters is the same as suicide notes.

You do not immortalize the lost by writing about them. Language buries, but does not resurrect.

Language is the key to the heart of people.

I have written it before and am not ashamed to write it again. Without Wodehouse I am not sure that I would be a tenth of what I am today -- whatever that may be. In my teenage years, his writings awoke me to the possibilities of language. His rhythms, tropes, tricks and mannerisms are deep within me.But more than that, he taught me something about good nature. It is enough to be benign, to be gentle, to be funny, to be kind.

A written word is the choicest of relics. It is something at once more intimate with us and more universal than any other work of art. It is the work of art nearest to life itself. It may be translated into every language, and not only be read but actually breathed from all human lips; -- not be represented on canvas or in marble only, but be carved out of the breath of life itself.

All this twaddle, the existence of God, atheism, determinism, liberation, societies, death, etc., are pieces of a chess game called language, and they are amusing only if one does not preoccupy oneself with 'winning or losing this game of chess.

I know all those words, but that sentence makes no sense to me.

Meow” means “woof” in cat.

Anyone can speak Troll. All you have to do is point and grunt.

It is very useful, when one is young, to learn the difference between "literally" and "figuratively." If something happens literally, it actually happens; if something happens figuratively, it feels like it is happening. If you are literally jumping for joy, for instance, it means you are leaping in the air because you are very happy. If you are figuratively jumping for joy, it means you are so happy that you could jump for joy, but are saving your energy for other matters.

Alphabet: a symbolic system used in algebra, with applications that have yet to be discovered by dyslexics and two thirds of college graduates.

In Paris they just simply opened their eyes and stared when we spoke to them in French! We never did succeed in making those idiots understand their own language.

Dearest creature in creation,Study English pronunciation.I will teach you in my verseSounds like corpse, corps, horse, and worse.I will keep you, Suzy, busy,Make your head with heat grow dizzy.Tear in eye, your dress will tear.So shall I! Oh hear my prayer.Just compare heart, beard, and heard,Dies and diet, lord and word,Sword and sward, retain and Britain.(Mind the latter, how it’s written.)Now I surely will not plague youWith such words as plaque and ague.But be careful how you speak:Say break and steak, but bleak and streak;Cloven, oven, how and low,Script, receipt, show, poem, and toe.Hear me say, devoid of trickery,Daughter, laughter, and Terpsichore,Typhoid, measles, topsails, aisles,Exiles, similes, and reviles;Scholar, vicar, and cigar,Solar, mica, war and far;One, anemone, Balmoral,Kitchen, lichen, laundry, laurel;Gertrude, German, wind and mind,Scene, Melpomene, mankind.Billet does not rhyme with ballet,Bouquet, wallet, mallet, chalet.Blood and flood are not like food,Nor is mould like should and would.Viscous, viscount, load and broad,Toward, to forward, to reward.And your pronunciation’s OKWhen you correctly say croquet,Rounded, wounded, grieve and sieve,Friend and fiend, alive and live.Ivy, privy, famous; clamourAnd enamour rhyme with hammer.River, rival, tomb, bomb, comb,Doll and roll and some and home.Stranger does not rhyme with anger,Neither does devour with clangour.Souls but foul, haunt but aunt,Font, front, wont, want, grand, and grant,Shoes, goes, does. Now first say finger,And then singer, ginger, linger,Real, zeal, mauve, gauze, gouge and gauge,Marriage, foliage, mirage, and age.Query does not rhyme with very,Nor does fury sound like bury.Dost, lost, post and doth, cloth, loth.Job, nob, bosom, transom, oath.Though the differences seem little,We say actual but victual.Refer does not rhyme with deafer.Foeffer does, and zephyr, heifer.Mint, pint, senate and sedate;Dull, bull, and George ate late.Scenic, Arabic, Pacific,Science, conscience, scientific.Liberty, library, heave and heaven,Rachel, ache, moustache, eleven.We say hallowed, but allowed,People, leopard, towed, but vowed.Mark the differences, moreover,Between mover, cover, clover;Leeches, breeches, wise, precise,Chalice, but police and lice;Camel, constable, unstable,Principle, disciple, label.Petal, panel, and canal,Wait, surprise, plait, promise, pal.Worm and storm, chaise, chaos, chair,Senator, spectator, mayor.Tour, but our and succour, four.Gas, alas, and Arkansas.Sea, idea, Korea, area,Psalm, Maria, but malaria.Youth, south, southern, cleanse and clean.Doctrine, turpentine, marine.Compare alien with Italian,Dandelion and battalion.Sally with ally, yea, ye,Eye, I, ay, aye, whey, and key.Say aver, but ever, fever,Neither, leisure, skein, deceiver.Heron, granary, canary.Crevice and device and aerie.Face, but preface, not efface.Phlegm, phlegmatic, ass, glass, bass.Large, but target, gin, give, verging,Ought, out, joust and scour, scourging.Ear, but earn and wear and tearDo not rhyme with here but ere.Seven is right, but so is even,Hyphen, roughen, nephew Stephen,Monkey, donkey, Turk and jerk,Ask, grasp, wasp, and cork and work.Pronunciation (think of Psyche!)Is a paling stout and spikey?Won’t it make you lose your wits,Writing groats and saying grits?It’s a dark abyss or tunnel:Strewn with stones, stowed, solace, gunwale,Islington and Isle of Wight,Housewife, verdict and indict.Finally, which rhymes with enough,Though, through, plough, or dough, or cough?Hiccough has the sound of cup.My advice is to give up!!!

Women speak because they wish to speak, whereas a man speaks only when driven to speak by something outside himself-like, for instance, he can't find any clean socks.

It's not all bad. Heightened self-consciousness, apartness, an inability to join in, physical shame and self-loathing—they are not all bad. Those devils have been my angels. Without them I would never have disappeared into language, literature, the mind, laughter and all the mad intensities that made and unmade me.

The menu is not the meal.

Words are the clothes thoughts wear.

Words are made for a certain exactness of thought, as tears are for a certain degree of pain. What is least distinct cannot be named; what is clearest is unutterable.

At the very best, a mind enclosed in language is in prison. It is limited to the number of relations which words can make simultaneously present to it; and remains in ignorance of thoughts which involve the combination of a greater number. These thoughts are outside language, they are unformulable, although they are perfectly rigorous and clear and although every one of the relations they involve is capable of precise expression in words. So the mind moves in a closed space of partial truth, which may be larger or smaller, without ever being able so much as to glance at what is outside.

You have to watch your language. People will think you have no fucking class

A picture held us captive. And we could not get outside it, for it lay in our language and language seemed to repeat it to us inexorably.

when a language dies, a way of understanding the world dies with it, a way of looking at the world.

Philosophy, as we use the word, is a fight against the fascination which forms of expression exert upon us.

I tried to think the same thought in as many different religions as possible, so the thought itself wouldn't be limited by any particular way of reasoning, the way words restrict -- the whole eskimo-seventeen-words-for-snow idea.

I started studying law, but this I could stand just for one semester. I couldn't stand more. Then I studied languages and literature for two years. After two years I passed an examination with the result I have a teaching certificate for Latin and Hungarian for the lower classes of the gymnasium, for kids from 10 to 14. I never made use of this teaching certificate. And then I came to philosophy, physics, and mathematics. In fact, I came to mathematics indirectly. I was really more interested in physics and philosophy and thought about those. It is a little shortened but not quite wrong to say: I thought I am not good enough for physics and I am too good for philosophy. Mathematics is in between.

It seemed to a number of philosophers of language, myself included, that we should attempt to achieve a unification of Chomsky's syntax, with the results of the researches that were going on in semantics and pragmatics. I believe that this effort has proven to be a failure. Though Chomsky did indeed revolutionize the subject of linguistics, it is not at all clear, at the end the century, what the solid results of this revolution are. As far as I can tell there is not a single rule of syntax that all, or even most, competent linguists are prepared to agree is a rule.

So he came to realize that learning a language was perhaps the most profound thing a man could do. Not only did it require wrapping different sounds around the very movement of your soul, it involved learning things somehow already known, as though much of what he was somehow existed apart from him. A kind of enlightenment accompanied these first lessons, a deeper understanding of self.

For an author to write as he speaks is just as reprehensible as the opposite fault, to speak as he writes; for this gives a pedantic effect to what he says, and at the same time makes him hardly intelligible

That of which we cannot speak, we must pass over in silence

Only by the aid of language does reason bring about its most important achievements, namely the harmonious and consistent action of several individuals, the planned cooperation of many thousands, civilization, the State; and then, science, the storing up of previous experience, the summarizing into one concept of what is common, the communication of truth, the spreading of error, thoughts and poems, dogmas and superstitions. The animal learns to know death only when he dies, but man consciously draws every hour nearer his death; and at times this makes life a precarious business, even to the man who has not already recognized this character of constant annihilation in the whole of life itself.

I am a lover of truth, a worshiper of freedom, a celebrant at the altar of language and purity and tolerance.

What cannot be said above all must not be silenced but written.

It's only words... unless they're true.

Language always betrays us, tells the truth when we want to lie, and dissolves into formlessness when we would most like to be precise.

To really change the world, we have to help people change the way they see things. Global betterment is a mental process, not one that requires huge sums of money or a high level of authority. Change has to be psychological. So if you want to see real change, stay persistent in educating humanity on how similar we all are than different. Don't only strive to be the change you want to see in the world, but also help all those around you see the world through commonalities of the heart so that they would want to change with you. This is how humanity will evolve to become better. This is how you can change the world. The language of the heart is mankind's main common language.

What, then, is truth? A mobile army of metaphors, metonyms, and anthropomorphisms – in short, a sum of human relations, which have been enhanced, transposed, and embellished poetically and rhetorically, and which after long use seem firm, canonical, and obligatory to a people: truths are illusions about which one has forgotten that this is what they are; metaphors which are worn out and without sensuous power; coins which have lost their pictures and now matter only as metal, no longer as coins.

Let us dedicate this new era to mothers around the world, and also to the mother of all mothers -- Mother Earth. It is up to us to keep building bridges to bring the world closer together, and not destroy them to divide us further apart. We can pave new roads towards peace simply by understanding other cultures. This can be achieved through traveling, learning other languages, and interacting with others from outside our borders. Only then will one truly discover how we are more alike than different. Never allow language or cultural traditions to come between brothers and sisters. The same way one brother may not like his sister's choice of fashion or hairstyle, he will never hate her for her personal style or music preference. If you judge a man, judge only his heart. And if you should do so, make sure you use the truth in your conscience when weighing one's character. Do not measure anybody strictly based on the bad you see in them and ignore all the good.

But suppose it was truth double strong, it were no truth to me if I couldna take it in. I daresay there's truth in yon Latin book on your shelves; but it's gibberish and no truth to me, unless I know the meaning o' the words.

The language of God is color because, it's the only thing that everyone understands. And even if you're blind to the world you can still hear the color in everything.If you don't believe me, close your eyes and listen to the wind and feel it on your skin; listen to the birds as they call one another and feel the sunlight on your face.That's love and that's what color is and that is the language of God.

If names be not correct, language is not in accordance with the truth of things.

Never trust the translation or interpretation of something without first trusting its interpreter.

A strange thing, words. Once they're said, it's hard to imagine they're untrue.

Understanding languages and other cultures builds bridges. It is the fastest way to bring the world closer together and to Truth. Through understanding, people will be able to see their similarities before differences.

The language of light can only be decoded by the heart.

If names be not correct, language is not in accordance with the truth of things. If language be not in accordance with the truth of things, affairs cannot be carried on to success. When affairs cannot be carried on to success, proprieties and music do not flourish.

There is some relationship between the hunger for truth and the search for the right words. This struggle may be ultimately indefinable and even undecidable, but one damn well knows it when one sees it.

There are objects made up of two sense elements, one visual, the other auditory—the colour of a sunrise and the distant call of a bird. Other objects are made up of many elements—the sun, the water against the swimmer's chest, the vague quivering pink which one sees when the eyes are closed, the feeling of being swept away by a river or by sleep. These second degree objects can be combined with others; using certain abbreviations, the process is practically an infinite one. There are famous poems made up of one enormous word, a word which in truth forms a poetic object, the creation of the writer. The fact that no one believes that nouns refer to an actual reality means, paradoxically enough, that there is no limit to the numbers of them.

A row of trees far away, there on the hillside.But what is it, a row of trees? It’s just trees.Row and the plural trees aren’t things, they’re names.

Truth for anyone is a very complex thing. For a writer, what you leave out says as much as those things you include. What lies beyond the margin of the text? The photographer frames the shot; writers frame their world. Mrs Winterson objected to what I had put in, but it seemed to me that what I had left out was the story’s silent twin. There are so many things that we can’t say, because they are too painful. We hope that the things we can say will soothe the rest, or appease it in some way. Stories are compensatory. The world is unfair, unjust, unknowable, out of control. When we tell a story we exercise control, but in such a way as to leave a gap, an opening. It is a version, but never the final one. And perhaps we hope that the silences will be heard by someone else, and the story can continue, can be retold. When we write we offer the silence as much as the story. Words are the part of silence that can be spoken. Mrs Winterson would have preferred it if I had been silent.Do you remember the story of Philomel who is raped and then has her tongue ripped out by the rapist so that she can never tell? I believe in fiction and the power of stories because that way we speak in tongues. We are not silenced. All of us, when in deep trauma, find we hesitate, we stammer; there are long pauses in our speech. The thing is stuck. We get our language back through the language of others. We can turn to the poem. We can open the book. Somebody has been there for us and deep-dived the words. I needed words because unhappy families are conspiracies of silence. The one who breaks the silence is never forgiven. He or she has to learn to forgive him or herself.

We live in a world where unfortunately the distinction between true and false appears to become increasingly blurred by manipulation of facts, by exploitation of uncritical minds, and by the pollution of the language.

Language can't describe reality. Literature has no stable reference, no real meaning. Each reader's interpretation is equally valid, more important than the author's intention. In fact, nothing in life has meaning. Reality is subjective. Values and truths are subjective. Life itself is a kind of illusion. Blah, blah, blah, let's have another scotch.

We speak, but it is God who teaches.

In the end idealism annoyed Bouvard. ‘I don’t want any more of it: the famous cogito is a bore. The ideas of things are taken for the things themselves. What we barely understand is explained by means of words that we do not understand at all! Substance, extension, force, matter and soul, are all so many abstractions, figments of the imagination. As for God, it is impossible to know how he is, or even if he is! Once he was the cause of wind, thunder, revolutions. Now he is getting smaller. Besides, I don’t see what use he is.

With wine and being lost, withless and less of both:I rode through the snow, do you read meI rode God far--I rode Godnear, he sang,it wasour last ride overthe hurdled humans.They cowered whenthey heard usoverhead, theywrote, theylied our neighinginto one of theirimage-ridden languages.

Discourse is not life; its time is not your time; in it, you will not be reconciled to death; you may have killed God beneath the weight of all that you have said; but don't imagine that, with all that you are saying you will make a man that will live longer than he.

Love is a universal language.

Everyone smiles in the same language, Happiness knows no frontiers, no age. No difference thar makes us feel apart if a smile can win even a broken heart.

As long as one is ruled by illusion, one’s thinking process is also illusory and that is nothing but misery. In Gnanis’ [the enlightened one’s] language, there is no such thing as happiness or unhappiness.

And then it occurs to me. They are frightened. In me, they see their own daughters, just as ignorant, just as unmindful of all the truths and hopes they have brought to America. They see daughters who grow impatient when their mothers talk in Chinese, who think they are stupid when they explain things in fractured English. They see that joy and luck do not mean the same to their daughters, that to these closed American-born minds "joy luck" is not a word, it does not exist. They see daughters who will bear grandchildren born without any connecting hope passed from generation to generation.

Then I speak to her in a language she has never heard, I speak to her in Spanish, in the tongue of the long, crepuscular verses of Díaz Casanueva; in that language in which Joaquín Edwards preaches nationalism. My discourse is profound; I speak with eloquence and seduction; my words, more than from me, issue from the warm nights, from the many solitary nights on the Red Sea, and when the tiny dancer puts her arm around my neck, I understand that she understands. Magnificent language!

I still believe in man in spite of man. I believe in language even though it has been wounded, deformed, and perverted by the enemies of mankind. And I continue to cling to words because it is up to us to transform them into instruments of comprehension rather than contempt. It is up to us to choose whether we wish to use them to curse or to heal, to wound or to console.

Some people us language to describe the lives they lead, and other people use language to create the lives they lead.

Fashion is a language that creates itself in clothes to interpret reality.

If we were not impressed by job titles, suits, and jargon, we would demand that financial advisors show us their personal bank statements before they tell us what we could or should do with our own money.

Language is artificial, but our feelings are natural, inner, and universal. There are many languages, but feelings are the same for everyone. We can only describe it in different ways. A poet tries to sing the song of these feelings in different tunes with different music mixing with the inner emotions of the reader.

The books brought brilliance to my life, and they brought an understanding: Life is a story. Everything that has happened and will happen to me is all part of the story of this enchanted place - all the dreams and visions and understandings that come to me in my dungeon cell. The books helped me see the truth is not in the touch of the stone but in what the stone tells you.

In the absence of a formally agreed, worldwide dictionary definition of 'Quotography' (in 2016), here are my two cents worth: 'Quotography is the art of pairing unique quotations with complementary images in order to express thought-provoking ideas, challenging concepts, profound sentiments'.

Poetry: the best words in the best order.

To feel most beautifully alive means to be reading something beautiful, ready always to apprehend in the flow of language the sudden flash of poetry.

A tough life needs a tough language—and that is what poetry is. That is what literature offers—a language powerful enough to say how it is.

What wretched poverty of language! To compare stars to diamonds!

Wordplay hides a key to reality that the dictionary tries in vain to lock inside every free word.

I believe in fiction and the power of stories because that way we speak in tongues. We are not silenced. All of us, when in deep trauma, find we hesitate, we stammer; there are long pauses in our speech. The thing is stuck. We get our language back through the language of others. We can turn to the poem. We can open the book. Somebody has been there for us and deep-dived the words.

The poet knows that he speaks adequately, then, only when he speaks somewhat wildly.

Language has not the power to speak what love inditesThe soul lies buried in the Ink that writes

A poet is, before anything else, a person who is passionately in love with language.

We sit and talk,quietly, with long lapses of silenceand I am aware of the streamthat has no language, coursingbeneath the quiet heaven ofyour eyeswhich has no speech

Equally, the surrealists consider words as witnesses of life acting in a direct way in human affairs. To use words properly it was necessary to treat them with respect, for they were the intermediaries between oneself and the rest of creation. To abuse them was immediately to set oneself adrift from true being. Words need to be coaxed to reveal a little of their true nature, so as to close the breach that exists between the writer and the universe. The world is not something alien against which man is in conflict. Rather man and cosmos exist in reciprocal motion. We are not cast adrift in an alien or meaningless environment. The universe is intimate with us and, as Breton insisted, it is a cryptogram to be deciphered.

It was language I loved, not meaning. I liked poetry better when I wasn't sure what it meant. Eliot has said that the meaning of the poem is provided to keep the mind busy while the poem gets on with its work -- like the bone thrown to the dog by the robber so he can get on with his work. . . . Is beauty a reminder of something we once knew, with poetry one of its vehicles? Does it give us a brief vision of that 'rarely glimpsed bright face behind/ the apparency of things'? Here, I suppose, we ought to try the impossible task of defining poetry. No one definition will do. But I must admit to a liking for the words of Thomas Fuller, who said: 'Poetry is a dangerous honey. I advise thee only to taste it with the Tip of thy finger and not to live upon it. If thou do'st, it will disorder thy Head and give thee dangerous Vertigos.

that your power of commandwith simple language wasone of the magnificent things ofour century.(from the poem: result)

In their effort to divorce language and experience, deconstructionist critics remind me of middle-class parents who do not allow their children to play in the street.

Language is fossil Poetry.

By giving words the latitude she does, (Marianne) Van Hirtum emphasizes their contagious qualities: they become almost like viruses, with which it is necessary to put oneself in harmony by sympathetic magic if one is not to be overwhelmed. ... What is essential is to become one with the sickness, that is, in the context of language as a whole, to enter into contact with words.

The question ‘Why poetry?’ isn’t asking what makes poetry unique among art forms; poetry may indeed share its origins with other forms of privileged utterance. A somewhat more interesting question would be: “What is the nature of experience, and especially the experience of using language, that calls poetic utterance into existence? What is there about experience that’s unutterable?” You can’t generalize very usefully about poetry; you can’t reduce its nature down to a kernel that underlies all its various incarnations. I guess my internal conversation suggests that if you can’t successfully answer the question of “Why poetry?,” can’t reduce it in the way I think you can’t, then maybe that’s the strongest evidence that poetry’s doing its job; it’s creating an essential need and then satisfying it.

Is there a better method of departure by night than this quiet bon voyage with an open book, the sole companion who has come to see you off, to wave you into the dark waters beyond language?

He is a Londoner, too, in his writings. In his familiar letters he displays a rambling urban vivacity, a tendency to to veer off the point and to muddle his syntax. He had a brilliantly eclectic mind, picking up words and images while at the same time forging them in new and unexpected combinations. He conceived several ideas all at once, and sometimes forgot to separate them into their component parts. This was true of his lectures, too, in which brilliant perceptions were scattered in a wilderness of words. As he wrote on another occasion, "The lake babbled not less, and the wind murmured not, nor the little fishes leaped for joy that their tormentor was not." This strangely contorted and convoluted style also characterizes his verses, most of which were appended as commentaries upon his paintings. Like Blake, whose prophetic books bring words and images in exalted combination, Turner wished to make a complete statement. Like Blake, he seemed to consider the poet's role as being in part prophetic. His was a voice calling in the wilderness, and, perhaps secretly, he had an elevated sense of his status and his vocation. And like Blake, too, he was often considered to be mad. He lacked, however, the poetic genius of Blake - compensated perhaps by the fact that by general agreement he is the greater artist.

A poet is a verb that blossoms light in gardens of dawn, or sometimes midnight.

Why covet a knowledge of new facts? Day and night, house and garden, a few books, a few actions, serve us as well as would all trades and all spectacles. We are far from having exhausted the significance of the few symbols we use. We can come to use them yet with a terrible simplicity.

If words allow themselves to be handled, it is with the help of infinite carefulness. One has to welcome them, listen to the, before asking any service of them. Words are living things closely involved with human life.

I would like The Discovery of Poetry to be a field guide to the natural pleasures of language - a happiness we were born to have.

Words are power. The more words you know and can recognize, use, define, understand, the more power you will have as a human being... The more language you know, the more likely it is that no one can get over on you."selection from book: Our Difficult Sunlight: A Guide to Poetry, Literacy & Social Justice in Classroom & Community

The subtleties of the mind cannot be transmitted in words, but can be seen in words.

Sometimes in composition class, when I have been confronted by someone who simply cannot get the first word written on paper, I give the following advice: Say your essay into a tape recorder and then write it down.

Love’s language starts, stops, starts; the right words flowing or clotting in the heart.

You alone in Europe are not ancient oh ChristianityThe most modern European is you Pope Pius XAnd you whom the windows observe shame keeps youFrom entering a church and confessing this morningYou read the prospectuses the catalogues the billboards that sing aloudThat's the poetry this morning and for the prose there are the newspapersThere are the 25 centime serials full of murder mysteriesPortraits of great men and a thousand different headlines("Zone")

Language signifies when instead of copying thought it lets itself be taken apart and put together again by thought. Language bears the sense of thought as a footprint signifies the movement and effort of a body. The empirical use of already established language should be distinguished from its creative use. Empirical language can only be the result of creative language. Speech in the sense of empirical language - that is, the opportune recollection of a preestablished sign – is not speech in respect to an authentic language. It is, as Mallarmé said, the worn coin placed silently in my hand. True speech, on the contrary - speech which signifies, which finally renders "l'absente de tous bouquets" present and frees the sense captive in the thing - is only silence in respect to empirical usage, for it does not go so far as to become a common noun. Language is oblique and autonomous, and if it sometimes signifies a thought or a thing directly, that is only a secondary power derived from its inner life. Like the weaver, the writer works on the wrong side of his material. He has only to do with the language, and it is thus that he suddenly finds himself surrounded by sense.

Personally I think that grammar is a way to attain beauty.

Broadly speaking, the short words are the best, and the old words best of all.

Nothing is so easy as to deceive one’s self when one does not lack wit and is familiar with all the niceties of language. Language is a prostitute queen who descends and rises to all roles. Disguises herself, arrays herself in fine apparel, hides her head and effaces herself; an advocate who has an answer for everything, who has always foreseen everything, and who assumes a thousand forms in order to be right. The most honorable of men is he who thinks best and acts best, but the most powerful is he who is best able to talk and write

Every word first looks around in every direction before letting itself be written down by me.

Romanticism is the abuse of adjectives

Language is a finding-place not a hiding place.

Writing in English is like throwing mud at a wall.

A word is a bud attempting to become a twig. How can one not dream while writing? It is the pen which dreams. The blank page gives the right to dream.

I love the sound of words, the feel of them, the flow of them. I love the challenge of finding just that perfect combination of words to describe a curl of the lip, a tilt of the chin, a change in the atmosphere. Done well, novel-writing can combine lyricism with practicality in a way that makes one think of grand tapestries, both functional and beautiful. Fifty years from now, I imagine I’ll still be questing after just that right combination of words.

Once, Turner had himself lashed to the mast of a ship for several hours, during a furious storm, so that he could later paint the storm. Obviously, it was not the storm itself that Turner intended to paint. What he intended to paint was a representation of the storm. One's language is frequently imprecise in that manner, I have discovered.

If language is lost, humanity is lost. If writing is lost, certain kinds of civilization and society are lost, but many other kinds remain - and there is no reason to think that those alternatives are inferior.

Not long ago, I advertised for perverse rules of grammar, along the lines of "Remember to never split an infinitive" and "The passive voice should never be used." The notion of making a mistake while laying down rules ("Thimk," "We Never Make Misteaks") is highly unoriginal, and it turns out that English teachers have been circulating lists of fumblerules for years. As owner of the world's largest collection, and with thanks to scores of readers, let me pass along a bunch of these never-say-neverisms:* Avoid run-on sentences they are hard to read. * Don't use no double negatives.* Use the semicolon properly, always use it where it is appropriate; and never where it isn't.* Reserve the apostrophe for it's proper use and omit it when its not needed.* Do not put statements in the negative form.* Verbs has to agree with their subjects.* No sentence fragments.* Proofread carefully to see if you any words out.* Avoid commas, that are not necessary.* If you reread your work, you will find on rereading that a great deal of repetition can be avoided by rereading and editing.* A writer must not shift your point of view.* Eschew dialect, irregardless.* And don't start a sentence with a conjunction.* Don't overuse exclamation marks!!!* Place pronouns as close as possible, especially in long sentences, as of 10 or more words, to their antecedents.* Writers should always hyphenate between syllables and avoid un-necessary hyph-ens.* Write all adverbial forms correct.* Don't use contractions in formal writing.* Writing carefully, dangling participles must be avoided.* It is incumbent on us to avoid archaisms.* If any word is improper at the end of a sentence, a linking verb is.* Steer clear of incorrect forms of verbs that have snuck in the language.* Take the bull by the hand and avoid mixed metaphors.* Avoid trendy locutions that sound flaky.* Never, ever use repetitive redundancies.* Everyone should be careful to use a singular pronoun with singular nouns in their writing.* If I've told you once, I've told you a thousand times, resist hyperbole.* Also, avoid awkward or affected alliteration.* Don't string too many prepositional phrases together unless you are walking through the valley of the shadow of death.* Always pick on the correct idiom.* "Avoid overuse of 'quotation "marks."'"* The adverb always follows the verb.* Last but not least, avoid cliches like the plague; seek viable alternatives.", November 4, 1979; later also published in book form)

Language allows us to reach out to people, to touch them with our innermost fears, hopes, disappointments, victories. To reach out to people we'll never meet.It's the greatest legacy you could ever leave your children or your loved ones:The history of how you felt.

In words, as fashions, the same rule will hold;Alike fantastic, if too new, or old:Be not the first by whom the new are tried,Nor yet the last to lay the old aside.

Living like that utterly convinced me of the extreme limitations of language. I was just a child then, so I had only an intuitive understanding of the degree to which one losses control of words once they are spoken or written. It was then that I first felt a deep curiosity about language, and understood it as a tool that encompasses both a single moment and eternity.

Beware of the compound adjective, beloved of the tyro and the 'poetess'.

We cannot control the way people interpret our ideas or thoughts, but we can control the words and tones we choose to convey them. Peace is built on understanding, and wars are built on misunderstandings. Never underestimate the power of a single word, and never recklessly throw around words. One wrong word, or misinterpreted word, can change the meaning of an entire sentence and start a war. And one right word, or one kind word, can grant you the heavens and open doors.

Polysyllables obfuscate a preponderant ignorance with so much more style and panache.

Perhaps it is the language that chooses the writers it needs, making use of them so that each might express a tiny part of what it is.

As I train myself to cast off words, as I learn to erase word-thoughts, I begin to feel a new world rising up around me, The old world of houses, rooms, trees and streets shimmers, wavers and tears away, revealing another universe as startling as fire. We are shut off from the fullness of things. Words hide the world. They blur together elements that exist apart, or they break elements into pieces bind up the world, contract it into hard little pellets of perception. But the unbound world, the world behind the world – how fluid it is, how lovely and dangerous. At rare moments of clarity, I succeed in breaking through. Then I see. I see a place where nothing is known, because nothing is shaped in advance by words. There, nothing is hidden from me. There, every object presents itself entirely, with all its being. It's as if, looking at a house, you were able to see all four sides and both roof slopes. But then, there's no “house,” no “object,” no form that stops at a boundary, only a stream of manifold, precise, and nameless sensations, shifting into one another, pullulating, a fullness, a flow. Stripped of words, untamed, the universe pours in on me from every direction. I become what I see. I am earth, I am air. I am all. My eyes are suns. My hair streams among the galaxies.

I had thought that words were instruments of precision. Now I know that they devour the world, leaving nothing in its place.

I would talk in iambic pentameter if it were easier.

Anguish is the universal language

But once an original book has been written-and no more than one or two appear in a century-men of letters imitate it, in other words, they copy it so that hundreds of thousands of books are published on exactly the same theme, with slightly different titles and modified phraseology. This should be able to be achieved by apes, who are essentially imitators, provided, of course, that they are able to make use of language.

Evan Connell said once that he knew he was finished with a short story when he found himself going through it and taking out commas and then going through the story again and putting the commas back in the same places. I like that way of working on something. I respect that kind of care for what is being done. That's all we have, finally, the words, and they had better be the right ones, with the punctuation in the right places so that they an best say what they are meant to say. If the words are heavy with the writer's own unbridled emotions, or if they are imprecise and inaccurate for some other reason -- if the worlds are in any way blurred -- the reader's eyes will slide right over them and nothing will be achieved. Henry James called this sort of hapless writing 'weak specification'.

Writing engenders in us certain attitudes toward language. It encourages us to take words for granted. Writing has enabled us to store vast quantities of words indefinitely. This is advantageous on the one hand but dangerous on the other. The result is that we have developed a kind of false security where language is concerned, and our sensitivity to language has deteriorated. And we have become in proportion insensitive to silence.

Much of human behavior can be explained by watching the wild beasts around us. They are constantly teaching us things about ourselves and the way of the universe, but most people are too blind to watch and listen.

He loved the darkness and the mystery of the Catholic service--the tall priest strutting like a carrion crow and pronouncing magic in a dead language, the immediate magic of the Eucharist bringing the dead back to life so that the faithful could devour Him and become of Him, the smell of incense and the mystical chanting.

A wonderful area for speculative academic work is the unknowable. These days religious subjects are in disfavor, but there are still plenty of good topics. The nature of consciousness, the workings of the brain, the origin of aggression, the origin of language, the origin of life on earth, SETI and life on other worlds...this is all great stuff. Wonderful stuff. You can argue it interminably. But it can't be contradicted, because nobody knows the answer to any of these topics.

the mystic must be steadily told,—All that you say is just as true without the tedious use of that symbol as with it. Let us have a little algebra, instead of this trite rhetoric,—universal signs, instead of these village symbols,—and we shall both be gainers. The history of hierarchies seems to show that all religious error consisted in making the symbol too stark and solid, and was at last nothing but an excess of the organ of language.

Know what you are talking about.

Everything stated or expressed by man is a note in the margin of a completely erased text. From what's in the note we can extract the gist of what must have been in the text, but there's always a doubt, and the possible meanings are many.

We awaken by asking the right questions.

WONDERLANDIt is a person's unquenchable thirst for wonderThat sets them on their initial quest for truth.The more doors you open, the smaller you become.The more places you see and the more people you meet,The greater your curiosity grows.The greater your curiosity, the more you will wander.The more you wander, the greater the wonder.The more you quench your thirst for wonder,The more you drink from the cup of life.The more you see and experience, the closer to truth you become.The more languages you learn, the more truths you can unravel.And the more countries you travel, the greater your understanding.And the greater your understanding, the less you see differences.And the more knowledge you gain, the wider your perspective,And the wider your perspective, the lesser your ignorance.Hence, the more wisdom you gain, the smaller you feel.And the smaller you feel, the greater you become.The more you see, the more you love --The more you love, the less walls you see.The more doors you are willing to open,The less close-minded you will be.The more open-minded you are,The more open your heart.And the more open your heart,The more you will be able to Send and receive --Truth and TRUEUnconditionalLOVE.

Gods were preserved but languages were exterminated: thus was the conqueror’s will

Each language is a unique repository of facts and knowledge about the world that we can ill afford to lose, or, at the least, facts and knowledge about some history and people that have their place in the understanding of mankind. Every language is a treasury of human experience. Eyak doesn't give a damn about tenses. But it sure does give a damn about other things, much more than I do. Therefore it broadens your thinking, enriches your ability to understand the world- to deal with reality and experience.

All we can do is to prepare for a universal language that will go on changing for ever. We don’t know everything. We aren’t final. I wish we could make that statement a part of the Fundamental Law.

The difficulty of learning the dead languages does not arise from any superior abstruseness in the languages themselves, but in their being dead, and the pronunciation entirely lost. It would be the same thing with any other language when it becomes dead. The best Greek linguist that now exists does not understand Greek so well as a Grecian plowman did, or a Grecian milkmaid; and the same for the Latin, compared with a plowman or a milkmaid of the Romans; and with respect to pronunciation and idiom, not so well as the cows that she milked. It would therefore be advantageous to the state of learning to abolish the study of the dead languages, and to make learning consist, as it originally did, in scientific knowledge.

That which is now called learning, was not learning originally. Learning does not consist, as the schools now make it consist, in the knowledge of languages, but in the knowledge of things to which language gives names.

One word absent from a sentence, or misinterpreted incorrectly, can change the entire meaning of a sentence. One word can change the meaning of everything. Before you believe anything about God or anybody, ask yourself how well do you trust the transmitter, translator or interpreter. And if you have never met them, then how do you know if the knowledge you acquired is even right? One hundred and twenty-five years following every major event in history, all remaining witnesses will have died. How well do you trust the man who has stored his version of a story? And how can you put that much faith into someone you don't know?

The study of Scripture I find to be quite like mastering an instrument. No one is so good that they cannot get any better; no one knows so much that they can know no more. A professional can spot an amateur or a lack of practice or experience a mile away. His technicality, his spiritual ear is razor-sharp. He is familiar with the common mistakes, the counter-arguments; and insofar as this, he can clearly distinguish the difference between honest critics of the Faith and mere fools who criticize that which they know nothing.

The way of words, of knowing and loving words, is a way to the essence of things, and to the essence of knowing.

In Uganda, I wrote a questionaire that I had my research assistants give; on it, I asked about the embalasassa, a speckled lizard said to be poisonous and to have been sent by Prime minsister Milton Obote to kill Baganda in the late 1960s. It is not poisonous and was no more common in the 1960s than it had been in previous decades, as Makerere University science professors announced on the radio and stated in print… I wrote the question, What is the difference between basimamoto and embalasassa? Anyone who knows anything about the Bantu language—myself included—would know the answer was contained in the question: humans and reptiles are different living things and belong to different noun classes… A few of my informants corrected my ignorance… but many, many more ignored the translation in my question and moved beyond it to address the history of the constructs of firemen and poisonous lizards without the slightest hesitation. They disregarded language to engage in a discussion of events… My point is not about the truth of the embalasassa story… but rather that the labeling of one thing as ‘true’ and the other as ‘fictive’ or ‘metaphorical’—all the usual polite academic terms for false—may eclipse all the intricate ways in which people use social truths to talk about the past. Moreover, chronological contradictions may foreground the fuzziness of certain ideas and policies, and that fuzziness may be more accurate than any exact historical reconstruction… Whether the story of the poisionous embalasassa was real was hardly the issue; there was a real, harmless lizard and there was a real time when people in and around Kampala feared the embalasassa. They feared it in part because of beliefs about lizards, but mainly what frightened people was their fear of their government and the lengths to which it would go to harm them. The confusions and the misunderstandings show what is important; knowledge about the actual lizard would not.

Left to our own devices, we are apt to backslide to our instinctive conceptual ways. This underscores the place of education in a scientifically literate democracy, and even suggests a statement of purpose for it (a surprisingly elusive principle in higher education today). The goal of education is to make up for the shortcomings in our instinctive ways of thinking about the physical and social world. And education is likely to succeed not by trying to implant abstract statements in empty minds but by taking the mental models that are our standard equipment, applying them to new subjects in selective analogies, and assembling them into new and more sophisticated combinations.

If you're teaching, say, physics, there's no point in persuading a student that you're right. You want to encourage them to find out what the truth is, which is probably that you're wrong.

We are the witnesses of a barely perceptible transformation in ordinary language: verbs which formerly expressed satisfying actions have been replaced by nouns which name packages designed for passive consumption only -- 'to learn' becomes 'to accumulate credits'.

This is one of the consequences of a superior education, you see. In this independent, hundred-per-cent-empowered and fully and totally indigenous blacker-than-black country, a superior education is one that the whites would value, and as whites do not value local languages at the altar of what the whites deem supreme. So it was in colonial times, and so it remains, more than thirty years later.

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[Today's high schoolers are required to read] a couple of Shakespeare plays...the couple of Shakespeare plays function as an inoculation – that is, you get exposed to 'half-dead Shakespeare virus', and it keeps you from ever loving Shakespeare again, your whole life long. It would be much better if they didn't do that at all!Because [the students] have no linguistic preparation for it, and no cultural or historical preparation for it. They've not been reading English poetry, so the language strikes them as completely bizarre […] and they have no historical place to put it, so they don't know what's going on. All they know is that they're 'supposed to like it'.

To touch a person...to sleep with a person...is to become a pioneer," she whispered then, "a frontiersman at the edge of their private world, the strange, incomprehensible world of their interior, filled with customs you could never imitate, a language which sounds like your own but is really totally foreign, knowable only to them.

You can always evaluate a man's character by the way he speaks about his ex girlfriends and other women. When entering a new relationship or getting close with a new guy, make sure you take notice of the language he uses when referring to other girls

Sanskrit has different words to describe love for a brother or sister, love for a teacher, love for a partner, love for one’s friends, love of nature, and so on. English has only one word, which leads to never-ending confusion.

Whatever language we use use to describe healthy relationships, when we’re in them, we feel nourished by them, in body as well as mind.

English is the language through which I reach hearts from various corners of the world. English is the language through which I flirt with my species. English is the language through which I make my species think.

When life seems like an uphill task do not ever give up on yourself or on life! Travel to a new place, learn a new language, embrace a new culture, play a musical instrument, read a good book, watch the sunrise, experience the sunset, go for a swim in the river, hug a tree, sit near the lake, or climb a mountain! You will fall in love with life all over again!

In a matter of a moment the amount of sand in the upper part of the hour-glass had dwindled dramatically, the tiny grains were rushing through the opening, each grain more eager to leave then the last, time is just like people, sometimes it’s all it can do to drag itself along, but at others, it runs like a deer and leaps like a young goat, which, when you think about it, is not saying much, since the cheetah is the fastest of all the animals, and yet it has never occurred to anyone to say of another person He runs and jumps like a cheetah, perhaps because that first comparison comes from the magical late middle ages, when gentlemen went deer-hunting and no one had ever seen a cheetah running or even heard of its existence. Languages are conservative, they always carry their archives with them and hate having to be updated.

On the whole I try to keep Modesty and Willie in timeless settings, which is why I avoid all the latest slang and in-words. It won't be long before 'brill' sounds as dated as 'super' does now. [Uncle Happy, 1990]

Me neither,” Shane put in. “Homie don’t play that.”“I wonder, sometimes, if your generation speaks English at all,” Amelie said.

He said "cool" like I say a Spanish word when I'm not sure of the pronunciation.

S'mimasen," Alyss said repeatedly as they brushed against passerby. "What does that mean?" Will asked as they reached a stretch of street bare of any other pedestrians. He was impressed by Alyss's grasp of the local language. "It means 'pardon me,'" Alyss replied, but then a shadow of doubt crossed her face. "At least, I hope it does. Maybe I'm saying 'you have the manners of a fat, rancid sow.

Psychobabble attempts to redefine the entire English language just to make a correct statement incorrect. Psychology is the study of why someone would try to do this.

Jokes are many things. 'Funny' is only one of them.

Looking but not seeing is the hearing but not understanding of the eye.

It is still cheating, even if nobody comes.

Cat's friends seemed like very sweet girls," Dad says."They were the bomb," I say fervently, and he looks back at me with raised eyebrows."'The bomb' is a good thing? Like 'sick'?"Duh," I reply, and Dad lets out a sigh."Thirteen-year-olds should come with subtitles," he says, turning onto our street.

Thirty-four, still undecided on a name, sat practicing his Realm tongue with Draker, although much of the lesson seemed to consist of the correct use of profanity. "No," the big man shook his shaggy head. "Pig-fucker not fuck-pigger.

Language-lovers know that there is a word for every fear. Are you afraid of wine? Then you have oenophobia. Tremulous about train travel? You suffer from siderodromophobia. Having misgivings about your mother-in-law is pentheraphobia, and being petrified of peanut butter sticking to the roof of your mouth is arachibutyrophobia. And then there’s Franklin Delano Roosevelt’s affliction, the fear of fear itself, or phobophobia.

Most often when I stammerThat's my brainCorrecting my grammer.

If a book were written all in numbers, it would be true. It would be just. Nothing said in words ever came out quite even. Things in words got twisted and ran together, instead of staying straight and fitting together. But underneath the words, at the center, like the center of the Square, it all came out even. Everything could change, yet nothing would be lost. If you saw the numbers you could see that, the balance, the pattern. You saw the foundations of the world. And they were solid.

Language as putative science. - The significance of language for the evolution of culture lies in this, that mankind set up in language a separate world beside the other world, a place it took to be so firmly set that, standing upon it, it could lift the rest of the world off its hinges and make itself master of it. To the extent that man has for long ages believed in the concepts and names of things as in aeternae veritates he has appropriated to himself that pride by which he raised himself above the animal: he really thought that in language he possessed knowledge of the world. The sculptor of language was not so modest as to believe that he was only giving things designations, he conceived rather that with words he was expressing supreame knowledge of things; language is, in fact, the first stage of occupation with science. Here, too, it is the belief that the truth has been found out of which the mightiest sources of energy have flowed. A great deal later - only now - it dawns on men that in their belief in language they have propagated a tremendous error. Happily, it is too late for the evolution of reason, which depends on this belief, to be put back. - Logic too depends on presuppositions with which nothing in the real world corresponds, for example on the presupposition that there are identical things, that the same thing is identical at different points of time: but this science came into existence through the opposite belief (that such conditions do obtain in the real world). It is the same with mathematics, which would certainly not have come into existence if one had known from the beginning that there was in nature no exactly straight line, no real circle, no absolute magnitude.

Science and technology multiply around us. To an increasing extent they dictate the languages in which we speak and think. Either we use those languages, or we remain mute.

Words, too, have genuine substance -- mass and weight and specific gravity.

Without a constant misuse of language there cannot be any discovery, any progress

We should resume our language to science and leave the rest to silence

School taught me how to do language, maths and science; it failed to teach me the very basics of how to keep my home healthy.

I thought: pity the poor in spirit who know neither the enchantment nor the beauty of language.

Here's what I mean by the miracle of language. When you're falling into a good book, exactly as you might fall into a dream, a little conduit opens, a passageway between a reader's heart and a writer's, a connection that transcends the barriers of continents and generations and even death ... And here's the magic. You're different. You can never go back to being exactly the same person you were before you disappeared into that book.

Responding to a moderator at the Sydney Writers Festival in 2008 (video), about the Spanish words in his book:When all of us are communicating and talking when we’re out in the world, we’ll be lucky if we can understand 20 percent of what people say to us. A whole range of clues, of words, of languages escape us. I mean we’re not perfect, we’re not gods. But on top of that people mis-speak, sometimes you mis-hear, sometimes you don’t have attention, sometimes people use words you don’t know. Sometimes people use languages you don’t know. On a daily basis, human beings are very comfortable with a large component of communication, which is incomprehensibility, incomprehension. We tend to be comfortable with it. But for an immigrant, it becomes very different. What most of us consider normative comprehension an immigrant fears that they’re not getting it because of their lack of mastery in the language.And what’s a normal component in communication, incomprehension, in some ways for an immigrant becomes a source of deep anxiety because you’re not sure if it’s just incomprehension or your own failures. My sense of writing a book where there is an enormous amount of language that perhaps everyone doesn’t have access to was less to communicate the experience of the immigrant than to communicate the experience that for an immigrant causes much discomfort but that is normative for people. which is that we tend to not understand, not grasp a large part of the language around us. What’s funny is, will Ramona accept incomprehension in our everyday lives and will greet that in a book with enormous fury. In other words what we’re comfortable with out in the outside world, we do not want to encounter in our books.So I’m constantly, people have come to me and asked me… is this, are you trying to lock out your non-Dominican reader, you know? And I’m like, no? I assume any gaps in a story and words people don’t understand, whether it’s the nerdish stuff, whether it’s the Elvish, whether it’s the character going on about Dungeons and Dragons, whether it’s the Dominican Spanish, whether it’s the sort of high level graduate language, I assume if people don’t get it that this is not an attempt for the writer to be aggressive. This is an attempt for the writer to encourage the reader to build community, to go out and ask somebody else. For me, words that you can’t understand in a book aren’t there to torture or remind people that they don’t know. I always felt they were to remind people that part of the experience of reading has always been collective. You learn to read with someone else. Yeah you may currently practice it in a solitary fashion, but reading is a collective enterprise. And what the unintelligible in a book does is to remind you how our whole, lives we’ve always needed someone else to help us with reading.

We are absurdly accustomed to the miracle of a few written signs being able to contain immortal imagery, involutions of thought, new worlds with live people, speaking, weeping, laughing. We take it for granted so simply that in a sense, by the very act of brutish routine acceptance, we undo the work of the ages, the history of the gradual elaboration of poetical description and construction, from the treeman to Browning, from the caveman to Keats. What if we awake one day, all of us, and find ourselves utterly unable to read? I wish you to gasp not only at what you read but at the miracle of its being readable.

I had lines inside me, a string of guiding lights. I had language. Fiction and poetry are doses, medicines. What they heal is the rupture reality makes on the imagination. I had been damaged, and a very important part of me had been destroyed - that was my reality, the facts of my life. But on the other side of the facts was who I could be, how I could feel. And as long as I had words for that, images for that, stories for that, then I wasn't lost.

The face of the water, in time, became a wonderful book- a book that was a dead language to the uneducated passenger, but which told its mind to me without reserve, delivering its most cherished secrets as clearly as if it uttered them with a voice. And it was not a book to be read once and thrown aside, for it had a new story to tell every day.

We can trace the communitarian fantasy that lies at the root of all humanism back to the model of a literary society, in which participation through reading the canon reveals a common love of inspiring messages. At the heart of humanism so understood we discover a cult or club fantasy: the dream of the portentous solidarity of those who have been chosen to be allowed to read. In the ancient world—indeed, until the dawn of the modern nation-states—the power of reading actually did mean something like membership of a secret elite; linguistic knowledge once counted in many places as the provenance of sorcery. In Middle English the word 'glamour' developed out of the word 'grammar'. The person who could read would be thought easily capable of other impossibilities.

Hugh Laurie (playing Mr. Palmer) felt the line 'Don't palm all your abuses [of language upon me]' was possibly too rude. 'It's in the book,' I said. He didn't hit me.

My books are a word feast.

There is no "religious language" or "scientific language". There is rather the international notation of mathematics and logic; and English, French, Spanish and the like. In short, "religious discourse" and "scientific discourse" are part of the same overall conceptual structure. Moreover, in that conceptual structure there is a large amount of discourse, which is neither religious nor scientific, that is constantly being utilized by both the religious man and the scientist when they make religious and scientific claims. In short, they share a number of key categories.

The silence. End of all poetry, all romances. Earlier, frightened, you began to have some intimation of it: so many pages had been turned, the book was so heavy in one hand, so light in the other, thinning toward the end. Still, you consoled yourself. You were not quite at the end of the story, at that terrible flyleaf, blank like a shuttered window: there were still a few pages under your thumb, still to be sought and treasured. Oh, was it possible to read more slowly? - No. The end approached, inexorable, at the same measured pace. The last page, the last of the shining words! And there - the end of the books. The hard cover which, when you turn it, gives you only this leather stamped with old roses and shields.Then the silence comes, like the absence of sound at the end of the world. You look up. It's a room in an old house. Or perhaps it's a seat in a garden, or even a square; perhaps you've been reading outside and you suddenly see the carriages going by. Life comes back, the shadows of leaves. Someone comes to ask what you will have for dinner, or two small boys run past you, wildly shouting; or else it's merely a breeze blowing a curtain, the white unfurling into a room, brushing the papers on a desk. It is the sound of the world. But to you, the reader, it is only a silence, untenanted and desolate.

Hello" and "good-bye" were a pair of bookends, propping up a vast library of blank volumes, void almanacs, novels full of sentiment I couldn't apprehend

I haven't any language weak enough to depict the weakness of my spiritual life. If I weakened it enough it would cease to be language at all. As when you try to turn the gas-ring a little lower still, and it merely goes out.

Spirituality has a language of it's own and some people haven't learned to speak it.

The name one gives is inessential.What's in a name? That which we call a rose, by other name would smell as sweet.

We are looking for a tongue that speaks with reverence for life, searching for an ecology of mind. Without it, we have no home, no place of our own within the creation. It is not only the vocabulary of science we desire. We want a language of that different yield. A yield rich as the harvests of the earth, a yield that returns us to our own sacredness, to a self-love and resort that will carry out to others.

To bring relevance to people, you have to be able to speak their language effectively

Your body expresses yesterday in what it wants today. If you think: yesterday I was, tomorrow I shall be, you are thinking: I have died a little. Be what you are becoming, without clinging to what you might have been, what you might yet be. Never settle. Leave definitiveness to the undecided; we don't need it.

No matter where we come from, there is one language we can all speak and understand from birth, the language of the heart, love.

Language is the gateway of the mind and a bridge that connects us to other human beings. Language enables a person to share their clandestine inner world with other human beings and to learn about other people’s mysterious world of logical thoughts and poetic sentiments.

In more ways than any of us can name, love is wrapped up with the idea of expectation.

Only loyal love knows the sacred path to a faithful heart

The language of love is the only language understood but not spoken the world over.

There isn’t a word for walking out of the grocery storewith a gallon jug of milk in a plastic sackthat should have been bagged in double layers—so that before you are even out the dooryou feel the weight of the jug draggingthe bag down, stretching the thinplastic handles longer and longerand you know it’s only a matter of time untilbottom suddenly splits.There is no single, unimpeachable wordfor that vague sensation of somethingmoving away from youas it exceeds its elastic capacity —which is too bad, because that is the wordI would like to use to describe standing on the streetchatting with an old friendas the awareness grows in me that he isno longer a friend, but only an acquaintance,a person with whom I never made the effort—until this moment, when as we say goodbyeI think we share a feeling of relief, a recognition that we have reachedthe end of a pretense, though to tell the truthwhat I already am thinking aboutis my gratitude for language—how it will stretch just so much and no farther;how there are some holes it will not cover up;how it will move, if not inside, thenaround the circumference of almost anything—how, over the years, it has given meback all the hours and days, all theplodding love and faith, all themisunderstandings and secretsI have willingly poured into it.

Sports just happen to be excellent for avoiding foreign-language stage fright and developing lasting friendships while still sounding like Tarzan.

When you steal a people's language, you leave their soul bewildered.

The language of sword is less powerful than the language of word, but most ofthe people understand the language of sword with greater power than thelanguage of word.

To remain far-sighted, you need to surround yourselfwith far-sighted visionaries. You need to surround yourself with people who think like you. You needto surround yourself with people who speak the same language as you. You need to surround yourself with people who fight and refuse to give up on theirdestiny. You need to surround yourself with people whose testimonies give you reasons to press on.

To remain far-sighted, you need to surround yourselfwith far-sighted visionaries. You need to surroundyourself with people who think like you. You needto surround yourself with people who speak the same language as you. You need to surround yourselfwith people who fight and refuse to give up on theirdestiny. You need to surround yourself with people whose testimonies give you reasons to press on.

We cannot control the way people interpret our ideas or thoughts, but we can control the words and tones we choose to convey them. Peace is built on understanding, and wars are built on misunderstandings. Never underestimate the power of a single word, and never recklessly throw around words. One wrong word, or misinterpreted word, can change the meaning of an entire sentence - and even start a war. And one right word, or one kind word, can grant you the heavens and open doors.

Once upon a time there were two countries, at war with each other. In order to make peace after many years of conflict, they decided to build a bridge across the ocean.But because they never learned each other’s language properly, they could never agree on the details, so the two halves of the bridge they started to build never met.To this day the bridge extends far into the ocean from both sides, and simply ends half way, miles in the wrong direction from the meeting point.And the two countries are still at war.

Historically, the Germans had a habit of associating the names of objects with the sounds they made. After bell makers-turned-cannon-makers learned that by closing off the mouth of the cannon before lighting the fuse, the entire cannon could be made to explode, the device they invented became known as the 'bum' (for boom!). In keeping with this tradition, the first one-thousand-pound bomb was dubbed 'ein laussen bum' (meaning, "a loud boom"). After the first atomic bomb was dropped on Hiroshima, they called the fission device 'ein grossen laussen bum' (or, "a big loud boom"). The next obvious step was the fusion, or H-bomb, which was pronounced 'ein grossen laussen bum all ist kaput!

It was as much a battle of wits and words as it was of mitts and swords.

What is at work in this report is the reduction of language to code. Cliches, coined by the state, become the only acceptable vocabulary. Everyone knows what to say and how to respond. It is scripted. Vocabulary shrinks so that the tyranny of nationalist rhetoric leaves people sputtering state-sanctioned slogans.

The predominant cancer metaphor is war. We fight cancer, usually valiantly. We attack tumors and try to annihilate them and bring out our arsenals to do that, and so on. It's us against cancer. This metaphor has come in for its share of criticism within the ethical, psychological and even oncological disciplines. A main concern is that when someone dies of cancer, the message that remains is that that person just hasn't fought hard enough, was not a brave enough soldier against the ultimate foe, did not really want to win.The cancer-is-war metaphor does not seem to allow space for the idea that in actual war, some soldiers die heroically for the larger good, no matter which side wins. War is death. In the cancer war, if you die, you've lost and cancer has won. The dead are responsible not just for getting cancer, but also for failing to defeat it.

The fact that in the twentieth century a greater proportion of the people in the world could communicate with one another, using English or just a few other languages, appears not to have stopped any wars, nor to have reduced the frequency with which wars have broken out, nor to have made the wars that have broken out less brutal. In fact, several murderous wars have been fought recently among people who speak 'the same language' in real terms.

On the basis of this information, it would be possible to argue that if everybody spoke English (or Chinese or Esperanto for that matter) everybody would be at war even more often.

Today words like 'persevere' and 'hero’s death' had been so ceaselessly bandied about that they had long since acquired an ironic sound—at least wherever there was actual fighting. . . . Once, before an attack, Sturm had heard an old sergeant say the following: 'Kids, we’re going over there now to gobble up the Englishmen’s rations.' It was the best battle address that he had ever heard. That was surely something good in the war—that it destroyed glorious-sounding phrases. Concepts that hung fleshless in the void were overcome by laughter.

Goal: Clean air, clean clear-running rivers, the presence of Pelican and Osprey and Gray Whale in our lives; salmon and trout in our streams; unmuddied language and good dreams.

But the Hebrew word, the word timshel—‘Thou mayest’— that gives a choice. It might be the most important word in the world. That says the way is open. That throws it right back on a man. For if ‘Thou mayest’—it is also true that ‘Thou mayest not.

Ideology is strong exactly because it is no longer experienced as ideology… we feel free because we lack the very language to articulate our unfreedom.

One day, it will all make sense, it will all be revealed. Until then, we learn to live and accept our shadows, our Déjà vu's, our dreams, our intuition that takes us to places that our minds never conceived, our bodies only perceived and our souls gladly remembered. Conversations and experiences amuse me, for I am experimenting with my feelings in ways that I can only do down here. Language makes up for a very interesting, yet bizarre way of putting thoughts into spoken form for the sound to move on in other peoples' ears, but every language, every sound, every word carries with it a long history, a deep culture and the souls of the many people who have previously used it throughout the centuries. Our hearts give us direction, hope and the passion to keep moving forward.. But what we do when they're frozen, broken, torn apart by an unhealthy way of living is what gives us new strength to push forward or kills us completely. Deep inside, we feed the entities that empower the fight between our internal demons and angels. We feed them with our thoughts, our emotions, our self-talk and the external talk that we lower our shields to at times. Whether good or bad, this brings about a change internally and at times there isn't much we can do to protect ourselves. At times, we need to let things be and go along with it. Of course, we're all worried, stressed, confused and lacking direction at times and we're in the same way at peace, stable and walking in the right direction once we get things sorted. Give it some time, give it some light, give it some love. You're not very far away.

We feel free because we lack the very language to articulate our unfreedom.

In learning a language, when from mere words we reach the laws of words, we have gained a great deal. But if we stop at that point and concern ourselves only with the marvels of the formation of a language, seeking the hidden reason of all its apparent caprices, we do not reach that end, for grammar is not literature… When we come to literature, we find that, though it conforms to the rules of grammar, it is yet a thing of joy; it is freedom itself. The beauty of a poem is bound by strict laws, yet it transcends them. The laws are its wings. They do not keep it weighed down. They carry it to freedom. Its form is in law, but its spirit is in beauty. Law is the first step toward freedom, and beauty is the complete liberation which stands on the pedestal of law. Beauty harmonizes in itself the limit and the beyond – the law and the liberty.

Language is my whore, my mistress, my wife, my pen-friend, my check-out girl. Language is a complimentary moist lemon-scented cleansing square or handy freshen-up wipette. Language is the breath of God, the dew on a fresh apple, it's the soft rain of dust that falls into a shaft of morning sun when you pull from an old bookshelf a forgotten volume of erotic diaries; language is the faint scent of urine on a pair of boxer shorts, it's a half-remembered childhood birthday party, a creak on the stair, a spluttering match held to a frosted pane, the warm wet, trusting touch of a leaking nappy, the hulk of a charred Panzer, the underside of a granite boulder, the first downy growth on the upper lip of a Mediterranean girl, cobwebs long since overrun by an old Wellington boot.

They say that maths is a language. So how do I order a pizza with extra cheese in maths?

The men who made the joke saw something deep which they could not express except by something silly and emphatic.

Freedom, one of the most important words in any language.

The English language is like London: proudly barbaric yet deeply civilised, too, common yet royal, vulgar yet processional, sacred yet profane. Each sentence we produce, whether we know it or not, is a mongrel mouthful of Chaucerian, Shakespearean, Miltonic, Johnsonian, Dickensian and American. Military, naval, legal, corporate, criminal, jazz, rap and ghetto discourses are mingled at every turn. The French language, like Paris, has attempted, through its Academy, to retain its purity, to fight the advancing tides of Franglais and international prefabrication. English, by comparison, is a shameless whore.

I personally believe we developed language because of our deep inner need to complain.

Lentokonesuihkuturbiinimoottoriapumekaanikkoaliupseerioppilas (technical warrant officer trainee specialised in aircraft jet engines)

As you can see, the hyphen is a nasty, tricky, evil little mark that gets its kicks igniting arguments in newsrooms and trying to make everyone in the English-speaking world look like an idiot - it's the Bill Maher of punctuation.

I was recently on a tour of Latin America, and the only regret I have was that I didn't study Latin harder in school so I could converse with those people.

How many words are you having trouble with, sir?""Just the ones that I've highlighted.""I count at least a dozen, and I haven't gotten out of the first paragraph.""That's as far as I got, too. I'm not sure you and I speak the same language.

I also think pronunciation of a foreign tongue could be better taught than by demanding from the pupil those internal acrobatic feats that are generally impossible and always useless. This is the sort of instruction one receives: 'Press your tonsils against the underside of your larynx. Then with the convex part of the septum curved upwards so as almost but not quite to touch the uvula try with the tip of your tongue to reach your thyroid. Take a deep breath and compress your glottis. Now without opening your lips say "Garoo".' And when you have done it they are not satisfied.

As societies grow decadent, the language grows decadent, too. Words are used to disguise, not to illuminate, action: you liberate a city by destroying it. Words are to confuse, so that at election time people will solemnly vote against their own interests.

Political language … is designed to make lies sound truthful and murder respectable, and to give an appearance of solidity to pure wind. One cannot change this all in a moment, but one can at least change one’s own habits, and from time to time one can even, if one jeers loudly enough, send some worn-out and useless phrase – some jackboot, Achilles’ heel, hotbed, melting pot, acid test, veritable inferno or other lump of verbal refuse – into the dustbin where it belongs.

Rigorously comb through the pages of your life until you can even speak its broken dialects fluently.

The language we use is extremely powerful. It is the frame through which we perceive and describe ourselves and our picture of the world.

Word by word, the language of women so often begins with a whisper.

So avoid using the word ‘very’ because it’s lazy. A man is not very tired, he is exhausted. Don’t use very sad, use morose. Language was invented for one reason, boys - to woo women - and, in that endeavor, laziness will not do. It also won’t do in your essays.

Sometimes, in rare occasions, when I see a man respects a woman, treats her like another valuable human being, uses a proper language when talking to her and does not consider her only as a sex-toy. I feel proud of being a man. I feel grateful of belonging to a gender category as he is. However, the feeling is soon gone after seeing how men in general talk about women, disrespect them and insult them any way they can.

Does that new man in your life call his ex "a slut", "a whore", "a bitch", "psycho" , "crazy", "a nutter" etc etc. Chances are, whatever he's calling his ex right now, he'll be calling you when things don't go his way. Be warned.

My name is Nathan, just twenty-three and given to the curation of stories. I listen, retain, then polish and release them over the fire at night, when the others hush and lean forward in their desire to hear of the past. They crave romance, particularly when autumn sets in and cold nights await them, and so I speak of Alice, and Bethany, and Sarah, and Val, and other dead women who all once had lustrous hair and never a bad word on their plump lips. I can remember this is not how they were; I knew them, I knew them! Only six years have passed and yet I mythologize them as if it is six thousand. I am not culpable. Language is changing, like the earth, like the sea. We live in lonely, fateful flux, outnumbered and outgrown.

It seems that in almost all societies, the attitudes that people have to language change is basically the same. People everywhere tend to say that the older form of a language is in some sense 'better' than the form that is being used today.

There is a love for structure in them that I recognize, and a desire to worship correctness that I know and I share. When I look at them, I think: to prize traditionalism above all else in a church that began in revolution is to do a great violence to it. But I feel that same ache for the past in myself: to uphold the columns of literature, grammar, the Western tradition. The English language began as an upheaval; I am not protecting it when I try to guard it against change. The Jesus Christ of it, Chaucer, walked across the water telling dirty jokes, made twenty stories stretch to feed a million people, spelled the word "cunt" five ways, performed miracles. Any innovation I put down on paper is an attempt to remind myself of this. I am not modern. I was not born to blaze new paths or bring down walls. I break form against my nature to tell myself that revolution, too, is a tradition that must be upheld.

Language, she said, was just our way to explain away the wonder and glory of the world. To deconstruct. To dismiss. She said people can't deal with how beautiful the world really is. How it can't be explained and understood.

Never before had I known the sudden quiver of understanding that travels from word to brain to heart, the way a new language can move, coil, swim into life under the eyes, the almost savage leap of comprehension, the instantaneous, joyful release of meaning, the way the words shed their printed bodies in a flash of heat and light.

Talented writers etched the story detailing the travails of broken souls numerous times. The poets recounted an equal amount of times the lucent tears of human laughter and weeping sorrow. Everyone understands bitterness and joy. Conversely, the most evocative aspects of human beings, the bewildering clarification of their ambiguous natures, are virtually indefinable and therefore unutterable. Written testaments to love, truth, beauty, and adoration of nature are inherently weak because words fail to convey what a person experiences inside the spaces that compose their chemical field.

Our ability to perceive quality in nature begins, as in art, with the pretty. It expands through successive stages of the beautiful to values as yet uncaptured by language.

Rome was mud and smoky skies; the rank smell of the Tiber and the exotically spiced cooking fires of a hundred different nationalities. Rome was white marble and gilding and heady perfumes; the blare of trumpets and the shrieking of market-women and the eternal, sub-aural hum of more people, speaking more languages than Gaius had ever imagined existed, crammed together on seven hills whose contours had long ago disappeared beneath this encrustation if humanity. Rome was the pulsing heart of the world.

The trick and the beauty of language is that it seems to order the whole universe, misleading us into believing that we live in sight of a rational space, a possible harmony.

When I speak in Christian terms or Buddhist terms I'm simply selecting for the moment a dialect. Christian words for me represent the comforting vocabulary of the place I came from hometown voices saying more than the language itself can convey about how welcome and safe I am what the expectations are and where to find food. Buddhist words come from another dialect from the people over the mountain. I've become pretty fluent in Buddhist it helps me to see my home country differently but it will never be speech I can feel completely at home in.

The faithful have no dread of using the traditional language of the church. Terms like incarnation and resurrection need to be explained, not avoided.

We have our own language. Christianese... We don't say 'He's out of his mind,' no, we say 'That's our youth pastor.

God created places and things in the Old Testament to teach us about Jesus in the New Testament. These pictures are so simple, even a child can understand them. God graciously babbled at us so we can learn complex truths.

Words are a pretext. It is the inner bond that draws one person to another, not words.

How it is that animals understand things I do not know, but it is certain that they do understand. Perhaps there is a language which is not made of words and everything in the world understands it. Perhaps there is a soul hidden in everything and it can always speak, without even making a sound, to another soul.

His own opinion, which he does not air, is that the origin of speech lie in song, and the origins of song in the need to fill out with sound the overlarge and rather empty human soul.

When the heart is down and the soul is heavy, the eyes can only speak the language of tears

Therefore am I still / A lover of the meadows and the woods, / And mountains; and of all that we behold / From this green earth; of all the mighty world / Of eye and ear, both what they half create / And what perceive; well pleased to recognize / In nature and the language of the sense, / The anchor of my purest thoughts, the nurse/ The guide, the guardian of my heart, and soul / Of all my moral being.

WHAT IS TRUTH?Truth is not a thingOr a concept.It is as multidimensionalIn its meaningAs it is in its reflection.It is both invisibleAnd visible.It carries tons of weight,But can be carried.It is understood first through the spiritBefore science,And felt in the heart,Before the mind.Truth is not always heard by reason,Because reason sometimesIgnores Truth.Always listen to your conscience.Your conscience is your heartAnd reason is your mind.Your mind is simply there to reasonWith your heart.But remember,Truth is in your heart,And only through your heartCan you connect to the light of God.He who is not motivated by his heartWill not see Truth,And he who thinks only with his mindWill be blind to Truth.He who does not thinkWith his conscience,Does not stand by God,For the language of lightCan only be decoded by the heart.He who reads and recites words of GodAlso does not stand by God –If he merely understandsWords with his mindBut not his heart.Truth is black and white,And the entire spectrumOf colors in-between.It can have many parts,But has a solid foundation.Truth lacks perfection,For it is the reflection of all,Yet its reflection as a whole,Is more beautifulThan the accumulated flawsOf the small.Truth is the only brandWorth breathingAnd believing.So stand for truthIn everything you do,And only thenDoes your life haveMeaning.Poetry by Suzy Kassem

The aim of language...is to communicate...to impart to others the results one has obtained...As I talk, I reveal the situation...I reveal it to myself and to others in order to change it.

Love for others is the foundation of leadership.Simplicity is the language of leadership.Authenticity is the true character of leadership.

In the Somme valley, the back of language broke. It could no longer carry its former meanings. World War I changed the life of words and images in art, radically and forever. It brought our culture into the age of mass-produced, industrialized death. This, at first, was indescribable.

We are told that in translation there is no such thing as equivalence. Many times the translator reaches a fork in the translating road where they must make a choice in the interpretation of a word. And each time they make one of these choices, they are taken further from the truth. But what we aren’t told is that this isn’t a shortcoming of translation; it’s a shortcoming of language itself. As soon as we try to put reality into words, we limit it. Words are not reality, they are the cause of reality, and thus reality is always more. Writers aren't alchemists who transmute words into the aurous essence of the human experience. No, they are glassmakers. They create a work of art that enables us to see inside to help us understand. And if they are really good, we can see our own reflections staring back at us.

We are all born as storytellers. Our inner voice tells the first story we ever hear.

Echo of the waves appears in the sky, their lights reflected in your eyes. I'm back in our world and happy again. The sound of your voice, compassionate embrace... The power in your touch, serenity of stride... The beating of your heart calms down my presence, gracing with eternal peace of mind... Bathing in the sunshine of your arms I'm deeply aware of the melodic stream that has no language...gliding beneath the quiet Heaven of your eyes...

It does not take long. Soon the fine galloping language, the gutless swooning full of sapless trees and dehydrated lusts begins to swim smooth and swift and peaceful. It is better than praying without having to bother to think aloud. It is like listening in a cathedral to a eunuch chanting in a language which he does not even need to not understand.

We read each other through our eyes, and anatomically they are an extension of our brains. When we catch someone's eye, we look into a mind.

...The efficacy of psychedelics with regard to art has to do with their ability to render language weightless, as fluid and ephemeral as those famous "bubble letters" of the sixties. Psychedelics, I think, disconnect both the signifier and the signified from their purported referents in the phenomenal world - simultaneously bestowing upon us a visceral insight into the cultural mechanics of language, and a terrifying inference of the tumultuous nature that swirls beyond it. In my own experience, it always seemed as if language were a tablecloth positioned neatly upon the table until some celestial busboy suddenly shook it out, fluttering and floating it, and letting it fall back upon the world in not quite the same position as before - thereby giving me a vertiginous glimpse into the abyss that divides the world from our knowing of it. And it is into this abyss that the horror vacui of psychedelic art deploys itself like an incandescent bridge. Because it is one thing to believe, on theoretical evidence, that we live in a prison-house of language. It is quite another to know it, to actually peek into the slippery emptiness as the Bastille explodes around you. Yet psychedelic art takes this apparent occasion for despair and celebrates our escape from linguistic control by flowing out, filling that rippling void with meaningful light, laughter, and a gorgeous profusion.

You are my other self

Dance is the language of artistic kinesis.

With the sound of gusting wind in the branches of the language trees of Babel, the words gave way like leaves, and every reader glimpsed another reality hidden in the foilage.

Language and hearing are seated in the cerebral cortex, the folded gray matter that covers the first couple of millimeters of the outer brain like wrapping paper. When one experiences silence, absent even reading, the cerebral cortex typically rests. Meanwhile, deeper and more ancient brain structures seem to be activated--the subcortical zones. People who live busy, noisy lives are rarely granted access to these areas. Silence, it appears, is not the opposite of sound. It is another world altogether, literally offering a deeper level of thought, a journey to the bedrock of the self.

I found that reading gave me a certain relief – one form of escapism that seemed safe, and maybe more than safe. I felt saner – less fragmented- after reading for an hour.location 3234

The reading of great books has been a life-altering activity to me and, for better or worse, brought me singing and language-obsessed to that country where I make my living. Except for teaching, I’ve had no other ambition in life than to write books that mattered.

When you’re in love, you want to live forever. You want the emotion, the excitement you feel to last. Reading in Italian arouses a similar longing in me. I don’t want to die, because my death would mean the end of my discovery of the language. Because every day there will be a new word to learn. Thus true love can represent eternity.

I was a reader before I was a writer, and when I started putting together my first collection of short stories, Fairytales For Lost Children, I drew on my rich history as a reader to try and create my voice. I wanted this voice to reflect my Somali background, my Kenyan upbringing and my London home. This voice would be a mashup of all the elements that formed my youth; the sticky-sweet Jamaican patois, the Kenyan street slang, my Somali and Italian linguistic tics, my love of jazz poetics and nineties hip-hop slanguistics. This language would form the bed on which my narratives of love, loss, identity and hope would rest.

Our difficulties in understanding or effectuatingcommunication with other animals may arise from our reluctance to grasp unfamiliar ways of dealing with the world.

What other species now require of us is our attention. Otherwise, we are entering a narrative of disappearing intelligences.

Tell me how much a nation knows about its own language, and I will tell you how much that nation knows about its own identity.

The ultimate goal of this book is to present fragments from an epic about an animal that evolved, started talking, started talking about the fact that it was talking, and then paused briefly before asking itself how it started talking in the first place.

To this day, good English usually means the English wealthy and powerful people spoke a generation or two ago.

Just a month after the completion of the Declaration of Independence, at a time when he delegates might have been expected to occupy themselves with more pressing concerns -like how they were going to win the war and escape hanging- Congress quite extraordinarily found time to debate business for a motto for the new nation. (Their choice, E Pluribus Unum, "One from Many", was taken from, of all places, a recipe for salad in an early poem by Virgil.)

Considerable thought was given in early Congresses to the possibility of renaming the country. From the start, many people recognized that United States of America was unsatisfactory. For one thing, it allowed of no convenient adjectival form. A citizen would have to be either a United Statesian or some other such clumsy locution, or an American, thereby arrogating to ourselves a title that belonged equally to the inhabitants of some three dozen other nations on two continents. Several alternatives to America were actively considered -Columbia, Appalachia, Alleghania, Freedonia or Fredonia (whose denizens would be called Freeds or Fredes)- but none mustered sufficient support to displace the existing name.

From that original colony sprang seven names that still feature on the landscape: Roanoke (which has the distinction of being the first Indian word borrowed by English settlers), Cape Fear, Cape Hatteras, the Chowan and Neuse Rivers, Chesapeake, and Virginia. (Previously, Virginia had been called Windgancon, meaning "what gay clothes you wear" - apparently what the locals had replied when an early reconnoitering party had asked the place's name.)

Class was what formed you, but didn’t travel to other cultures – it became invisible abroad. In foreign places, you were singled out by religion and race, but not class, which was more indecipherable than any other mother tongue. He’d learnt that not only were light, language, and weather contingent – class was too.

What is truly arresting about our kind is better captured in the story of the Tower of Babel, in which humanity, speaking a single language, came so close to reaching heaven that God himself felt threatened.

I remember one night at Muzdalifa with nothing but the sky overhead I lay awake amid sleeping Muslim brothers and I learned that pilgrims from every land--every color, and class, and rank; high officials and the beggar alike--all snored in the same language.

Keep your language. Love its sounds, its modulation, its rhythm. But try to march together with men of different languages, remote from your own, who wish like you for a more just and human world.

I tried to discover, in the rumor of forests and waves, words that other men could not hear, and I pricked up my ears to listen to the revelation of their harmony.

But Sasha was from Russia, where the sunsets are longer, the dawns less sudden and sentences are often left unfinished from doubt as how to best end them.

Why the Egyptian, Arabic, Abyssinian, Choctaw? Well, what tongue does the wind talk? What nationality is a storm? What country do rains come from? What color is lightning? Where does thunder goe when it dies?

English is so hierarchical. In Cree, we don't have animate-inanimate comparisons between things. Animals have souls that are equal to ours. Rocks have souls, trees have souls. Trees are 'who,' not 'what.

[Y]ou possess all the attributes of a demagogue; a screeching, horrible voice, a perverse, crossgrained nature and the language of the market-place. In you all is united which is needful for governing.

Nature is a word, an allegory, a mold, an embossing, if you will.

Language is fossil poetry

We are like travelers using the cinders of a volcano to roast their eggs.

We are one at the root - we just part at the branch

The job of the linguist, like that of the biologist or the botanist, is not to tell us how nature should behave, or what its creations should look like, but to describe those creations in all their messy glory and try to figure out what they can teach us about life, the world, and, especially in the case of linguistics, the workings of the human mind.

In a society so estranged from animals as ours, we often fail to credit them with any form of language. If we do, it comes under the heading of communication rather than speech. And yet, the great silence we have imposed on the rest of life contains innumerable forms of expression. Where does our own language come from but this unfathomed store that characterizes innumerable species? We are now more than halfway removed from what the unwritten word meant to our ancestors, who believed in the original, primal word behind all manifestations of the spirit. You sang because you were answered. The answers come from life around you. Prayers, chants, and songs were also responses to the elements, to the wind, the sun and stars, the Great Mystery behind them. Life on earth springs from a collateral magic that we rarely consult. We avoid the unknown as if we were afraid that contact would lower our sense of self-esteem.

. Nature's so terribly good. Don't you think so, Mr. Stanhope?"Stanhope was standing by, silent, while Mrs. Parry communed with her soul and with one or two of her neighbours on the possibilities of dressing the Chorus. He turned his head and answered, "That Nature is terribly good? Yes, Miss Fox. You do mean 'terribly'?""Why, certainly," Miss Fox said. "Terribly--dreadfully--very.""Yes," Stanhope said again. "Very. Only--you must forgive me; it comes from doing so much writing, but when I say 'terribly' I think I mean 'full of terror'. A dreadful goodness.""I don't see how goodness can be dreadful," Miss Fox said, with a shade of resentment in her voice. "If things are good they're not terrifying, are they?""It was you who said 'terribly'," Stanhope reminded her with a smile, "I only agreed.""And if things are terrifying," Pauline put in, her eyes half closed and her head turned away as if she asked a casual question rather of the world than of him, "can they be good?"He looked down on her. "Yes, surely," he said, with more energy. "Are our tremors to measure the Omnipotence?

To Alef, the letterthat begins the alphabetsof both Arabic and Hebrew-two Semitic languages,sisters for centuries.May we find the languagethat takes usto the only home there is - one another's hearts....Alef knowsThat a threadOf a storyStitches togetherA wound.

Be wary of any man who is quick to put down another man's faith. His love for Truth is not deep enough for him to want to explore additional truths outside his borders. The language of light can only be decoded by the heart. Thus, a man with a closed heart is already blind to understand the words of his own faith.

To be happy to be sad and sad to be happy is to sing an echo in that beautiful language called Sorrow.

Culture is critical in marriage because in a real sense, culture is the behavioral expression of one's values, appreciations, tastes, and relational style in both simple and serious matters of life. Add to this the dimensions of language and cultural memory, and you have worlds within worlds. In effect, culture provides the how and why of an individual's behavior.

An unalterable and unquestioned law of the musical world required that the German text of French operas sung by Swedish artists should be translated into Italian for the clearer understanding of English-speaking audiences.

Music is a language that doesn’t speak in particular words. It speaks in emotions, and if it’s in the bones, it’s in the bones.

Like all other music, it breathed passion and pathos, and emotions high or tender, in a tongue native to the human heart, wherever educated.

The language of the heart is mankind's main common language.

We didn’t have words. We didn’t have writing or maps or language, but we had music and in that music, we spoke victory and loss, sadness and rage. We sang fire and water, earth and sky. We wrote the history of the Battle of Lamos and told the story of Selisanae of the Sun and wove the tragedy of the lives and deaths of dragons in every land. It was marvellous.

Music transcends the boundaries of language.

Who cares what colour your hair or what shape your shape is? Who cares what religion your religion or what language your language is? What is the colour of your heart? That is all that matters!

Love is the secret language of the heart which everyone can understand.

Verily, for nine hundred years have I lost. Everyone I knew is dead, the empire gone, and who knows in what state the world is left. Should what thy sister reports prove true, much hath changed in the w

Language is something you inherit, it's never just you doing the talking, which helps when you're pretending.

Of course the activists—not those whose thinking had become rigid, but those whose approach to revolution was imaginatively anarchic—had long ago grasped the reality which still eluded the press: we were seeing something important. We were seeing the desperate attempt of a handful of pathetically unequipped children to create a community in a social vacuum. Once we had seen these children, Ave could no longer overlook the vacuum, no longer pretend that the society’s atomization could be reversed. This was not a traditional generational rebellion. At some point between 1945 and 1967 we had somehow neglected to tell these children the rules of the game we happened to be playing. Maybe we had stopped believing in the rules ourselves, maybe we were having a failure of nerve about the game. Maybe there were just too few people around to do the telling. These were children who grew up cut loose from the web of cousins and great-aunts and family doctors and lifelong neighbors who had traditionally suggested and enforced the society’s values. They are children who have moved around a lot, San Jose, Chula Vista, here. They are less in rebellion against the society than ignorant of it, able only to feed back certain of its most publicized self-doubts, Vietnam, Saran-Wrap, diet pills, the Bomb.They feed back exactly what is given them. Because they do not believe in words—words are for “typeheads,” Chester Anderson tells them, and a thought which needs words is just one more of those ego trips—their only proficient vocabulary is in the society’s platitudes. As it happens I am still committed to the idea that the ability to think for one’s self depends upon one’s mastery of the language, and I am not optimistic about children who will settle for saying, to indicate that their mother and father do not live together, that they come from “a broken home.” They are sixteen, fifteen, fourteen years old, younger all the time, an army of children waiting to be given the words.

She'd always been comforted by how many words there were in the English language -- more than a million. With so many words surely anything could be said, everything could be under

I don’t know why—it’s just that—I don’t know—they’re not kin."—Surprising word, I think to myself never used it before. Not of kin—sounds like hillbilly talk—not of a kind—same root—kindness, too—they can’t have real kindness toward him, they’re not his kin -- . That’s exactly the feeling. Old word, so ancient it’s almost drowned out. What a change through the centuries. Now anybody can be "kind." And everybody’s supposed to be. Except that long ago it was something you were born into and couldn’t help. Now it’s just a faked-up attitude half the time, like teachers the first day of class. But what do they really know about kindness who are not kin.

From both my families, I've learnt important things.From my family of chance, I learnt what it was like to be alone and unrecognized, to be perceived through the prism of delusion, a lost soul marooned in the belly of bedlam. I learned the beauty and power of language, but also its capacity for subtle perfidy, how it can be used to subvert and distort reality, to sanction cruelty and sugarcoat abuse. I learned that words can be the path to freedom or just another lock on the caged door.And from my family of choice, I learn on a daily basis about love and loyalty, about burdens shared and intimacies treasured, about forgiveness and atonement and joy. I learn about the gift of a difficult childhood and the fact that ''it's never too late to have a happy one.

We can never know more than the mind can assimilate and process, nor can we discuss any aspect of the world for which there is no language.

To make biological survival possible, Mind at Large has to be funnelled through the reducing valve of the brain and nervous system. What comes out at the other end is a measly trickle of the kind of consciousness which will help us to stay alive on the surface of this particular planet. To formulate and express the contents of this reduced awareness, man has invented and endlessly elaborated those symbol-systems and implicit philosophies which we call languages. Every individual is at once the beneficiary and the victim of the linguistic tradition into which he or she has been born -- the beneficiary inasmuch as language gives access to he accumulated records of other people's experience, the victim in so far as it confirms him in the belief that reduced awareness is the only awareness and as it be-devils his sense of reality, so that he is all too apt to take his concepts for data, his words for actual things.

How language is webbed in the senses. Out of sand-blazed brilliance into quirky minds such as his, into touch, taste and fragrance. He thought he'd linger just a bit longer, let the bath take total hold, ease and alleviate, before he put on clothes and entered the complex boxes where people do their living.Nothing fits the body so well as water.

As he once wrote of Kipling, his own enduring influence can be measured by a number of terms and phrases—doublethink, thought police, 'Some animals are more equal than others'—that he embedded in our language and in our minds. In Orwell's own mind there was an inextricable connection between language and truth, a conviction that by using plain and unambiguous words one could forbid oneself the comfort of certain falsehoods and delusions. Every time you hear a piece of psychobabble or propaganda—'people's princess,' say, or 'collateral damage,' or 'peace initiative'—it is good to have a well-thumbed collection of his essays nearby. His main enemy in discourse was euphemism, just as his main enemy in practice was the abuse of power, and (more important) the slavish willingness of people to submit to it.

A foolish German had said that man thought in words. It was totally false; a pernicious doctrine; the thoughts flashed into being in a hundred simultaneous forms, with a thousand associations, and the speaking mind selected one, forming it grossly into the inadequate symbols of words, inadequate because common to disparate situations - admitted to be inadequate for vast regions of expression, since for them there were the parallel languages of music and painting. Words were not called for in many or indeed most forms of thought: Mozart certainly thought in terms of music. He himself at this moment was thinking in terms of scent.

Don't live by your thoughts only; live by your words also. Whatever plans you think about, affirm it in your mouth first, declare it and you will succeed in working it out! Words can be powerful!

The form of observation , which underlines all speech and language development, always expresses a peculiar spiritual character , a special way of conceiving and apprehending. The difference between the several languages, therefore, is not a matter of different sounds and marks, but of different world conceptions.

Words have power.

profanity and obscenity entitle people who don't want unpleasant information to close their ears and eyes to you.

If one believes that words are acts, as I do, then one must hold writers responsible for what their words do.

Language exerts hidden power, like the moon on the tides.

We all know that there are language forms that are considered impolite and out of order, no matter what truths these languages might be carrying. If you talk with a harsh, urbanized accent and you use too many profanities, that will often get you barred from many arenas, no matter what you’re trying to say. On the other hand, polite, formal language is allowed almost anywhere even when all it is communicating is hatred and violence. Power always privileges its own discourse while marginalizing those who would challenge it or that are the victims of its power.

The natural, proper, fitting shape of the novel might be that of a sack, a bag. A book holds words. Words hold things. They bear meanings. A novel is a medicine bundle, holding things in a particular, powerful relation to one another and to us.

It is only in grammar that the mighty can be bound by rules made by the humble

It is true that if care is taken to use only a language that it's understood by graduates in law and economics, you can easily prove that the masses have to be managed from above.

The business of obscuring language is a mask behind which stands the much greater business of plunder.

Language lacks the power to describe Faith.

Try telling the boy who’s just had his girlfriend’s namecut into his arm that there’s slippage between the signifierand the signified. Or better yet explain to the girlwho watched in the mirror as the tattoo artist stitchedthe word for her father’s name (on earth as in heaven)across her back that words aren’t made of flesh and blood,that they don’t bite the skin. Language is the animalwe’ve trained to pick up the scent of meaning. It’s whywhen the boy hears his father yelling at the doorhe sends the dog that he’s kept hungry, that he’s kicked,then loved, to attack the man, to show him that every wordhas a consequence, that language, when used right, hurts.

Kreon: here are Kreon's verbs for todayAdjudicateLegislateScandalizeCapitalizehere are Kreon's nounsMenReasonTreasonDeathShip of StateMineChorus: "mine" isn't a nounKreon: it is if you capitalize it

A fine writer must appreciate and accept the power of language manifestly.

American schools in Guam, both before 1941 and after 1945, were established to eradicate the Chamoru, tongue and person. To educate the old Chamoru out of the new American. The native out of the patriot...But the nastier lesson their schools taught was that their dreams were ours. That indigenous knowledge had no place in the new world...As vehicles for our assimilation, American schools have attached to our longings alien aspirations for material wealth, money and power. How much of our creativity and our vision has already been laid to waste for the sake of these?

It is their usual reaction; they employ not words and reasoned conversation or discourse to resolve problems, but the truncheon, the jackbooted foot, or the gun. Sophistication requires more competence and skill than mere thuggery. It is a harder, loftier charge to be civilised than to let the beast in man devour man. The enlightened mind knows that all is challengeable, questions all, and thus, learns and grows. The weak, narrow mind makes its beliefs – whatever form they take – sacrosanct, defending them with violence if necessary. Political extremists, much like religious zealots, are the latter. They destroy what they cannot convert. They annihilate those they cannot control or make conform. They have found no peace in life, no love, and so promote war and division, as emotional cripples – inflicting their own pain and misery and malignant stupidity on the world. Their language binds people together, but only by stirring the darkest excesses of the soul; language of hate, and intolerance, fear and conspiracy, and the need for vengeance. In war-scarred Europe, these cripples direct mass-psychology, and would make the world in their own likeness; mutilated by violence and tribalism and hate.They use language in its most evil, twisted form. They appeal to the lowest form of understanding, on a level I hesitate to allow for the term ‘human intelligence’ to be associated.Children, fertile minds ripe for molestation. Now they will be taught what to think, not how to think. Language, that twisted poison. It scars purity.

The power of language – it can heal and build, or corrupt, poison, destroy, desecrate, annihilate…

We're not outside the world... We are the world. We're its language. So we live and it lives. You see? If we don't say the words, what is their in our world?

For many people around the world ethnicity is not a language, it is a religion.

My tongue was handed down to meby datus and katipuneros. The truth ismy mouth is a battlefield thatyou wouldn’t know how to fight in.

Once I have impounded love and towed it into the confine of words, I have lost it altogether.

kisses... areand always will be the only language that I will have ever truly known.

Maybe that was why the French called orgasms “las petites morts”: because the things that bring us passion tend to slip past our defenses, to creep insidiously into every facet of our consciousnesses and kill us as ruthlessly, and efficiently, as any drug.

Let your feelings flow and the scribbled words stay as a sovereign of the moment.

It is hard indeed to notice anything for which the languages available to us have no description.

Let each man say what he deems truth, and let truth itself be commended unto God.

In reality, love is fluid; it’s a verb, not a noun.

Language and reality are kept strictly apart—reality is tough, unyielding stuff, and it doesn’t care what you think or feel or say about it. Or it shouldn’t.

Since language produces meaning within an enclosed system, there is always a built-in untranslatability, which national languages began to deliberately pursue. The process added to the creation of an untranslatable "reality" that can be expresses only in a particular language. It also added to the discovery of untranslatable "truths.

The change of language is a change in reality.

By any measure, we live in an extraordinary and extreme time. Language can no longer describe the world in which we live. With antique ideas and old formulas, we continue to describe a world that is no longer present. In this loss of language, the word gives way to the image as the 'language' of exchange, in which critical thought disappears to a diabolic regime of conformity - the hyper-real, the omnipresent image. Language, real place gives way to numerical code, the real virtual; metaphor to metamorphosis; body to disembodiment; natural to supernatural; many to one. Mystery disappears, replaced by the illusion of certainty in technological perfection.

difference, distance, absence and seperation lie 'at the heart' of meaning, being and reality

Every language has its own word for the sun, but the sun us always the same.

Language is a ladder that always falls short of reality.

I know you do not understand what I am trying to tell you; I know you do not understand, because it is the thing that goes deepest into my heart, and there are no words as deep down as that. How can I make you know the reality of it? The world has spattered us all over with words, with cant phrases, with sarcasm, and with fulsome flattery. The world has been so officiously eager to explain for us the thing we mean and the worth of the thing that now, when we try to speak, our meaning is veiled, concealed, smothered, by the hideous volubility of facile expression. How can it have any reality for you when you hear only words about it?

Writing poetry is like having sex with the universe and the language is just a condom.

In contemporary parlance, sex is biological and gender is socially constructed.

As Luxenberg's work has only recently been published we must await its scholarly assessment before we can pass any judgements. But if his analysis is correct then suicide bombers, or rather prospective martyrs, would do well to abandon their culture of death, and instead concentrate on getting laid 72 times in this world, unless of course they would really prefer chilled or white raisins, according to their taste, in the next.

Looking at what 'foreplay' is, 'sexual intercourse' is a game.

The joy of knowing a foreign language is inexpressible. I find it really difficult to express such joy in my mother tongue.

As a poet there is something about joy I find hard to express, whereas every other emotion is rather simple. For instance, you never feel so bad that you can't describe how bad you feel, but joy on the other hand is far too divine for human language.

The more words I have, the more distinct, precise my perceptions become--and such lucidity is a form of joy.

From language to no-language is the journey and certainly every master has to use lies to attract you, to make you aware of your mindlessness, your stupidity. That's why I tell you to relish this very moment, and when you squeeze out the juice of every moment, then you will realise that there is nothing worthy in this world, then for the first time you start turning IN-wards, not otherwise!

If I could speak all the languages of earth and of angels, but didn't love others, I would only be a noisy gong or a clanging cymbal.

First off, I call them "children", not "kids". I am a child, and I am not ashamed to be one; time will cure this unfortunate condition. "Kid" is the cutesy name adults call children, because they think "child" sounds too scientific and clinical. I refuse to call myself by their idiotic pet name. Your grandmother might call you "Snugglepants Lovebotton", but that's not how you introduce yourself to strangers. I also refuse to use terms like "teen", "tween", and etc. I find them patronizing and putrid. They are fake words, used to disguise the truth--that anyone under the age of eighteen is legally (and that's the only thing that matters) a child.

The Art of Writing for Children is the knowledge of what is significant to them

Kids use words in ways that release hidden meanings, revel the history buried in sounds. They haven't forgotten that words can be more than signs, that words have magic, the power to be things, to point to themselves and materialize. With their back-formations, archaisms, their tendency to play the music in words--rhythm, rhyme, alliteration, repetition--children peel the skin from language. Words become incantatory. Open Sesame. Abracadabra. Perhaps a child will remember the word and will bring the walls tumbling down.

From time to time I try to imagine this world of which he spoke--a culture in whose mythology words might be that precious, in which words were conceived as vessels for communications from the heart; a society in which words are holy, and the challenge of life is based upon the quest for gentle words, holy words, gentle truths, holy truths. I try to imagine for myself a world in which the words one gives one's children are the shell into which they shall grow, so one chooses one's words carefully, like precious gifts, like magnificent gifts, like magnificent inheritances, for they convey an excess of what we have imagined, they bear gifts beyond imagination, they reveal and revisit the wealth of history. How carefully, how slowly, and how lovingly we might step into our expectations of each other in such a world.

The resulting texts always took a narrative term, enigmatic at first but ultimately explicit and often premonitory. The semantic distribution of these basic elements diverted them from their original meaning, thus revealing their real significance. Henceforth, every form of writing will consist of an operation of decoding, of contamination, and of sense perversion. All this because all language is essentially mystification, and everything is fiction.

It was always this way: The more people talked, the more they obscured. You didn't need to argue for the truth. You could see it.

[Referring to passage by Alice Munro] Finally, the passage contradicts a form of bad advice often given young writers -- namely, that the job of the author is to show, not tell. Needless to say, many great novelists combine "dramatic" showing with long sections of the flat-out authorial narration that is, I guess, what is meant by telling. And the warning against telling leads to a confusion that causes novice writers to think that everything should be acted out -- don't tell us a character is happy, show us how she screams "yay" and jumps up and down for joy -- when in fact the responsibility of showing should be assumed by the energetic and specific use of language.

Language is music. Written words are musical notation. The music of a piece of fiction establishes the way in which it is to be read, and, in the largest sense, what it means. It is essential to remember that characters have a music as well, a pitch and tempo, just as real people do. To make them believable, you must always be aware of what they would or would not say, where stresses would or would not fall.

Male supremacy is fused into the language, so that every sentence both heralds and affirms it. Thought, experienced primarily as language, is permeated by the linguistic and perceptual values developed expressly to subordinate women. Men have defined the parameters of every subject. All feminist arguments, however radical in intent or consequence, are with or against assertions or premises implicit in the male system, which is made credible or authentic by the power of men to name. No transcendence of the male system is possible as long as men have the power of naming... As Prometheus stole fire from the gods, so feminists will have to steal the power of naming from men, hopefully to better effect.

She had to fight against developing too combative a personality or becoming altogether a misanthrope. She suddenly caught herself. "Misanthrope" is someone who dislikes everybody, not just men.And they certainly had a word for someone who hates women: "misogynist." But the male lexicographers had somehow neglected to coin a word for the dislike of men. They were almost entirely men themselves, she thought, and had been unable to imagine a market for such a word.

I mutter and mutter and no one to listen. I speak my words in Japanese and my daughter will not hear them. The words that come from our ears, our mouths, they collide in the space between us."Obachan, please! I wish you would stop that. Is it too much to ask for some peace and quiet? You do this on purpose, don’t you? Don’t you! I just want some peace. Just stop! Please, just stop.""Gomennasai. Waruine, Obachan wa. Solly. Solly."Ha! Keiko, there is method in my madness. I could stand on my head and quote Shakespeare until I had a nosebleed, but to no avail, no one hears my language. So I sit and say the words and will, until the wind or I shall die. Someone, something must stand against this wind and I will. I am.

In the grammar of the phallus -- the I, I, I -- [woman] can't utter female experience.

Sexist grammar burns into the brains of little girls and young women a message that the male is the norm, the standard, the central figure beside which we are all deviants, the marginal, the dependent variables. It lays the foundation for androcentric thinking, and leaves men safe in their solipsistic tunnel-vision.

Re-vision--the act of looking back, of seeing with fresh eyes, of entering an old text from a new critical direction--is for women more than a chapter in cultural history: it is an act of survival. Until we can understand the assumptions in which we are drenched we cannot know ourselves. And this drive to self-knowledge, for women, is more than a search for identity: it is part of our refusal of the self-destructiveness of male-dominated society. A radical critique of literature, feminist in its impulse, would take the work first of all as a clue to how we live, how we have been living, how we have been led to imagine ourselves, how our language has trapped as well as liberated us, how the very act of naming has been till now a male prerogative, and how we can begin to see and name--and therefore live--afresh. A change in the concept of sexual identity is essential if we are not going to see the old political order reassert itself in every new revolution. We need to know the writing of the past, and know it differently than we have ever known it; not to pass on a tradition but to break its hold over us.

There is absolutely nothing feminine about the colour pink, or, anything bad-luck'ish about the colour black — in itself.

She had always thought that if only people could communicate mind-to-mind, eliminating the ambiguities of language, then understanding would be perfect and there'd be no more needless conflicts. Instead she had discovered that rather than magnifying differences between people, language might just as easily soften them, minimize them, smooth things over so that people could get along even though they really didn't understand each other. The illusion of comprehension allowed people to think they were more alike than they really were. Maybe language was better.

Trying to take away someone’s language is usually the first step in trying to change them.

Language is life and a true backbone of any society!

It says a lot about Sandberg’s brand of feminism that this campaign focuses on policing language rather than bringing attention to important issues that have real impact on women and girls

From the structure of language comes the explanation of why the human spirit is condemned to an odyssey - why it first finds its way to itself only on a detour via a complete externalization in other things and in other humans. Only at the greatest distance from itself does it become conscious of itself in its irreplaceable singularity as an individuated being.

It is not uncommon for textbooks on language to have sections on the relationship 'between' language and society, as if these were two independent entities which just happen to come into contact occasionally. My view is that there is not an external relationship 'between' language and society, but an internal and dialectical relationship.

If untruths become part of our language—untruths that in context are intended to be interpreted as polite expressions or figure of speech—then each person is left to decide for themselves the meaning of any sentence. And when language and meaning become subjective, society breaks down. The rule of law becomes a grey area. Commands become suggestions. And how do you keep anyone, including yourself, accountable for actions based on ambiguous language?

Never presume to know a person based on the one dimensional window of the internet. A soul can’t be defined by critics, enemies or broken ties with family or friends. Neither can it be explained by posts or blogs that lack facial expressions, tone or insight into the person’s personality and intent. Until people “get that”, we will forever be a society that thinks Beautiful Mind was a spy movie and every stranger is really a friend on Facebook.

When a society decays, it is language that is first to become gangrenous. As a result, social criticism begins with grammar and the re-establishing of meanings

But unfortunately you get no further by merely wishing class-distinctions away. More exactly, it is necessary to wish them away, but your wish has no efficacy unless you grasp what it involves. The fact that has got to be faced is that to abolish class-distinctions means abolishing a part of yourself. Here am I, a typical member of the middle class. It is easy for me to say that I want to get rid of class-distinctions, but nearly everything I think and do is a result of class-distinctions. All my notions –notions of good and evil, of pleasant and unpleasant, of funny and serious, of ugly and beautiful–are essentially middle-class notions; my taste in books and food and clothes, my sense of honour, my table manners, my turns of speech, my accent, even the characteristic movements of my body, are the products of a special kind of upbringing and a special niche about half-way up the social hierarchy.

But unfortunately you get no further by merely wishing class-distinctionsaway. More exactly, it is necessary to wish them away, but your wish has noefficacy unless you grasp what it involves. The fact that has got to be faced isthat to abolish class-distinctions means abolishing a part of yourself. Here amI, a typical member of the middle class. It is easy for me to say that I want toget rid of class-distinctions, but nearly everything I think and do is a result ofclass-distinctions. All my notions –notions of good and evil, of pleasant and unpleasant,of funny and serious, of ugly and beautiful–are essentially middle-classnotions; my taste in books and food and clothes, my sense of honour, my tablemanners, my turns of speech, my accent, even the characteristic movements ofmy body, are the products of a special kind of upbringing and a special nicheabout half-way up the social hierarchy.

Language is a social art.

A word devoid of thought is a dead thing, and a thought unembodied in words remains a shadow.

All human behaviour, language, thoughts, feelings, actions, and consciousness emerge from this massively interconnected network of neurons. Each neuron is pretty dumb; it either fires in a certain situation or it doesn’t, but out of this mass dumbness comes great cleverness.

Because of language, the thoughts we record today might reach into the future to influence the thinking of people not yet born.

It is noted that from 1967 to 1995 essays on negative emotions far outnumbered those on positive emotions in the psychological literature. The ratio was 21:1. Even those supreme perpetrators of pop nihilism, The New York Times and The Washington Post, have a better ratio than psychological literature. They average 12 negative stories to every one that might be construed to be non-negative. Many of their non-negative stories, however, cover success in sports and entertainment. I demand that the purveyors of despair who pretend to be dispassionate observes of the human condition go ahead and disclose that the 10 most beautiful words in the English languages are chimes, dawn, golden, hush, lullaby, luminous, melody, mist, murmuring, and tranquil; that Java sparrows prefer the music of Back over that of Schoenberg; that math experts have determined there are 1/96 trillion ways to lace up your shoes; that the Inuit term for making love is translated as ‘laughing together in bed;' and that according to Buckminster Fuller, “pollution is nothing but resources we’re not harvesting.

But psychology is a more tricky field, in which even outstanding authorities have been known to run in circles, 'describing things which everyone knows in language which no one understands'.

Don't you find it odd that two of the foremost symptoms of insanity are the hearing voices and talking to oneself? Is it any wonder that language is an area of such interest in psychology?(attrib: F.L. Vanderson)

Your thoughts are certain kinds of seeds in your life. You can water them and allow them to grow on fertile soil. Or, you can let them diminish and wither amongst the weeds. Be careful that your seeds are not contaminated as they begin to take root.

The whole of language is a continuous process of metaphor, and the history of semantics is an aspect of the history of culture; language is at the same time a living thing and a museum of fossils of life and civilisations.

Reality is the raw material, language is the way I go in search of it - and the way I do not find it. But it is from searching and not finding that what I did not know was born, and which I instantly recognise. Language is my human effort. My destiny is to search and my destiny is to return empty-handed. But - I return with the unsayable. The unsayable can only be given to me through the failure of my language. Only when the construction fails, can I obtain what I could not achieve.

In the white man's world, language, too -- and the way which the white man thinks of it--has undergone a process of change. The white man takes such things as words and literatures for granted, as indeed he must, for nothing in his world is so commonplace. On every side of him there are words by the millions, an unending succession of pamphlets and papers, letters and books, bills and bulletins, commentaries and conversations. He has diluted and multiplied the Word, and words have begun to close in on him. He is sated and insensitive; his regard for language -- for the Word itself -- as an instrument of creation has diminished nearly to the point of no return. It may be that he will perish by the Word.

It’s incredible how small the English language gets when you’re trying to make it fix something.

Our personal story has many chapters that reconnoiter universal themes. We each struggle to understand ourselves and aspire to make ourselves known to the world. We struggle to win the love of other people. We seek to pick all the low hanging fruit that we come across in our journey through the corridor of time. We write our story in the Niagara of emotional experiences that flowing watercourse makes us human. We use a profusion of words, symbols, and the nuances pulled from a rich library of language to depict the cascade of our visions, sounds, smells, tastes, feelings, dreams, and infelicitous thoughts. We use logical and dialectal thought processes when communing with our inner self. We use self-speak along with the esemplastic powers of poetic imagination, sprinkled with the fizz of creativity, to cohere disparate chapters of our life into a unified whole and relay the effervescence of our story to other people.

Language is the alchemy of transforming a thought into a word, and the word into a new reality.

To creative people, the compendium of the white man's dialect are unfashionable, because their creations are more than what the tongue could say.

Writers are not just writers, they are creators of worlds, sculptors of the mind, they are architects of language.

I once saw a small child go to an electric light switch as say, "Mamma, can I open the light?" She was using the age-old language of exploration, the language of art. It was a sort of metaphor, but she was not using it as ornamentation.

I place my fingers upon these keys typing 2,000 dreams per minute and naked of spirit dance forth my cosmic vortex upon this crucifix called language.

He had entered another imaginative world, one connected to the beginning of his life as a writer, to the Napoleonic world that had been a lifelong metaphor for the power of art, for the empire of his own creation He began to dictate notes for a new novel, "fragments of the book he imagines himself to be writing." As if he were now writing a novel of which his own altered consciousness was the dramatic center, he dictated a vision of himself as Napoleon and his own family as the Imperial Bonapartes....William and Alice he grasped with his regent hand, addressing his 'dear and most esteemed brother and sister.' To them, to whom he had granted countries, he now gave the responsibility of supervising the detailed plans he had created for 'the decoration of certain apartments, here of the Louvre and Tuileries, which you will find addressed in detail to artists and workment who take them in hand.' He was himself the 'imperial e

The past is always tense, the future perfect.

A man can control only what he comprehends, and comprehend only what he is able to put into words. The inexpressible therefore is unknowable. By examining future stages in the evolution of language we come to learn what discoveries, changes and social revolutions the language will be capable, some day, of reflecting.

There were seven men, but just one language. They also moved as one and ate one meal a day and slept in the same bed and knew the same women with whom they'd made the same child. They worked for the same firm as the father. They were the future.

In the contexts of religion and politics, words are not regarded as standing, rather inadequately, for things and events; on the contrary, things and events are regarded as particular illustrations of words.

When I read Shakespeare I am struck with wonder that such trivial people should muse and thunder in such lovely language.

The incapacity to name is a good symptom of disturbance.

The text is a tissue of quotations drawn from the innumerable centres of culture.

The conventional use of words and of narrative structure is deliberately subverted in decadent fiction; language deviates from the established norms in an attempt to reproduce pathology on a textual level. With its emphasis on aberration and artifice, the decadents' approach to the language of fiction frequently leans towards the baroque and the obscure.

Adornment, exoticism, affectation are all willed decadent strategies meant to pervert the texts they made. Decadent texts often live in their descriptive excursions, in their evocation of dreams, mysterious places and states of mind, in their excess of words, not events. The surface of the texts, the sound of the words, point to themselves as manufactured, as illusion. The decadents attempted to create texts that announced themselves as artifice.

A stubborn refusal of the conditions of 20th Century 'reality', surrealism has denied intransigently and consistently that modern man can live without a sense of wonder at the world that was once embodied in myth. In approaching literature, it has aimed at restoring to the word its magical qualities. And at giving back to language the elemental power it once had within society. This determinism lies at the heart of the surrealist attitude and distinguishes it radically from the modernism which took shape contemporaneously with it.

If Bengali is my mother, then English is my father and friend.

In the wildlife sanctuaries of literature, we study the species of speech, the flight patterns of individual words, the herd behavior of words together, and we learn what language does and why it matters. this is excellent training for going out into the world and looking at all the unhallowed speech of political statements and news headlines and CDC instructions and seeing how it makes the word or in this case, makes a mess of it. It is the truest, highest purpose of language to make things clear and help us see; when words are used to do the opposite you know you're in trouble and maybe that there's a cover-up.

I wrote when I did not know life;now that I know life, I have no more to say.

let us start by picturing the Japan archipelago lying in the sea by the Chinese mainland. If its proximity allowed it to become part of the Sinosphere and acquire a written culture, its distance benefited the development of indigenous writing. The Dover Strait, separating England and France, is only 34 kilometers (21 miles) wide. A fine swimmer can swim across it. In contrast, the shortest distance between Japan and the Korean Peninsula is five or six times greater, and between Japan and the Chinese mainland, twenty-five times greater. The current, moreover, is deadly. . . . Japan's distance from China gave it political and cultural freedom and made possible the flowering of its own writing.

I want all the books on the she

Since language is the only tool with which writers can reflect and shape a culture, it must be transformed into art. Language is not a limitation on the art of literature; it is a glorification. It has been the scaffolding inside which nations and philosophies have been built, and the language of literature has added the ornamental pediment by which the culture is remembered.

In an age when other fantastically speedy, widespread media are triumphing, and running the risk of flattening all communication onto a single homogeneous surface, the function of literature is communication between things that are different simply because they are different, not blunting but even sharpening the differences between them, following the true bent of written language.

I think that my first impulse arises from a hypersensitivity or allergy. It seems to me that language is always used in a random, approximate, careless manner, and this distresses me unbearably. Please don't think that my reaction is the result of intolerance towards my neighbor: the worst discomfort of all comes from hearing myself speak. That's why I try to talk as little as possible. If I prefer writing, it is because I can revise each sentence until I reach the point where - if not exactly satisfied with my words - I am able at least to eliminate those reasons for dissatisfaction that I can put a finger on. Literature - and I mean the literature that matches up to those requirements - is the promised land in which language becomes what it really ought to be.

God produced great writing, a matter of first importance to a man like Lincoln, ever impressed with the nature of cause and forces.

Every language has a grammar, a set of rules that govern usage and meaning, and literary language is no different. It’s all more or less arbitrary of course, just like language itself.

Anything that keeps old words in circulation is to be treasured, the French revolution be damned.

The first prerequisite for fine literature is that the writer must see the language not as a transparent medium for self-expression or the representation of reality, but as a medium one must struggle with to make it do one's bidding.

I can relate to Marguerite Duras even though I'm not French, nor have I been consumed by love for an East Asian man. I can life inside Alice Munro's skin. But I can't relate to my own mother. My body is full of sentences and moments, my heart resplendent with lovely turns of phrases, but neither is able to be touched by another.

Great literature is simply language charged with meaning to the utmost possible degree.

A boy trying out a man's language.

On of the reasons that I wanted to study literature was because it exposed everything. Writers looked for secrets that had never been mined. Every writer has to invent their own magical language, in order to describe the indescribable. They might seem to be writing in French, English, or Spanish, but really they were writing in the language of butterflies, crows, and hanged men.

Great language and great literature do not survive long without each other

Read sometimes for the story, Bobby. Don't be like the book-snobs who won't do that. Read sometimes for the words - the language. Don't be like the play-it-safers that won't do that. But when you find a book that has both good story and good words, treasure that book.

Literature shrivels in a universal language, and an uprooted language rots before it dies. And it should be possible to lift the eyes above the cant of the ‘language of Shakespeare’... sufficiently to realise the magnitude of the loss to humanity that the world-dominance of any one language now spoken would entail: no language has ever possessed but a small fraction of the varied excellences of human speech, and each language represents a different vision of life ...

Language is the medium of literature, and the state of the language at any time can hardly fail to carry literary consequences.

Howard adores Sam's looks. He loves the strong cut of jaw made satin with thickening peach fuzz, loses himself in the green eyes. Howard stares at them like a lover, but always obliquely. (Sometimes we watch our son from a distance. "I wonder what he's thinking," Howard will say.)

It is precisely, if paradoxically, because reversal is in the service of repetition (so as to ensure, alongside its companion strategies, a dizzying proliferation of citations) that it gains a subversive power rather than remain a mere dependent (and thus conservative) form of social discourse. Reversal plays a double role in this novel (MONSIEUR VENUS), for it is not only a formal strategy bearing on citation, but itself a citation as well; one more cliché mobilized from the fin-de-siecle reserve.

Nor is the limitation of what is sayable a limit to the doable: this last is the possibility of literature.

He loved words, and he would admit that he was playing with them all the time. He was obsessive about the rhythm of the sentence, and would add a word, subtract a word. [about Truman Capote]

I stress the expansion and elaboration of language. In simplifying it, reducing it, we reduce the power of our expression and our power to communicate. Standardization, the use of worn-out formulas, impedes communication because it does not match the subtlety of our minds or emotions, the multimedia of our unconscious life.

I control the world so long as I can name it. Which is why children must chase language before they do anything else, tame the wilderness by describing it, challenge God by learning His hundred names.

For last year's words belong to last year's language And next year's words await another voice.

Words are pale shadows of forgotten names. As names have power, words have power. Words can light fires in the minds of men. Words can wring tears from the hardest hearts.

The words. Why did they have to exist? Without them, there wouldn't be any of this.

He wanted to cry quietly but not for himself: for the words, so beautiful and sad, like music.

Using words to talk of words is like using a pencil to draw a picture of itself, on itself. Impossible. Confusing. Frustrating ... but there are other ways to understanding.

When I cannot see words curling like rings of smoke round me I am in darkness—I am nothing.

Gone. The saddest word in the language. In any language.

Language is a skin: I rub my language against the other. It is as if I had words instead of fingers, or fingers at the tip of my words. My language trembles with desire.

I dream of lost vocabularies that might express some of what we no longer can.

A man with a scant vocabulary will almost certainly be a weak thinker. The richer and more copious one's vocabulary and the greater one's awareness of fine distinctions and subtle nuances of meaning, the more fertile and precise is likely to be one's thinking. Knowledge of things and knowledge of the words for them grow together. If you do not know the words, you can hardly know the thing.

Our words are giants when they do us an injury, and dwarfs when they do us a service.

What a gulf between impression and expression! That’s our ironic fate—to have Shakespearean feelings and (unless by some billion-to-one chance we happen to be Shakespeare) to talk about them like automobile salesmen or teen-agers or college professors. We practice alchemy in reverse—touch gold and it turns into lead; touch the pure lyrics of experience, and they turn into the verbal equivalents of tripe and hogwash.

Tears are the noble language of eyes, and when true love of words is destitute. The eye by tears speak, while the tongue is mute.

I would think for hours how strange it was that some parts of words are silent, just like some parts of our lives. Did the people who wrote the dictionaries decide to mirror language to our lives, or did it just happen that way?

That was the hard thing about grief, and the grieving. They spoke another language, and the words we knew always fell short of what we wanted them to say.

Language does have the power to change reality. Therefore, treat your words as the mighty instruments they are - to heal, to bring into being, to remove, as if by magic, the terrible violations of childhood, to nurture, to cherish, to bless, to forgive - to create from the whole cloth of your soul, true love.

My God! The English language is a form of communication! Conversation isn't just crossfire where you shoot and get shot at! Where you've got to duck for your life and aim to kill! Words aren't only bombs and bullets —no, they're little gifts, containing meanings!

I find it ridiculous to assign a gender to an inanimate object incapable of disrobing and making an occasional fool of itself.

Just remember, when someone has an accent, it means that he knows one more language than you do.

Emotions, in my experience, aren't covered by single words.I don't believe in "sadness", "joy", or "regret".Maybe the best proof that the language is patriarchal is that is oversimplifies feeling. I'd like to have at my disposal complicated hybrid emotions.

Writing cannot express all words, words cannot encompass all ideas.

Translation is the art of failure.

Sink every impulse like a bolt. Secure The bastion of sensation. Do not waver Into language. Do not waver in it.

A true lady should have the wit and the imagination, or at least the very restraint, to express herself without resorting herself to such base vocabulary.

There's a scientific hypothesis that every person's name is a primary suggestive command that contains the entire script of their life in highly concentrated form. . . . According to this point of view, there is only a limited number of names, because society only needs a limited number of human types. Just a few models of worker and warrior ants, if I could put it like that. And everybody's psyche is preprogrammed at a basic level by the associative semantic fields that their first name and surname activate.

Talking about one's feelings defeats the purpose of having those feelings. Once you try to put the human experience into words, it becomes little more than a spectator sport. Everything must have a cause, and a name. Every random thought must have a root in something else.

Words can be medicines; they can also be poisons. Words can heal; they can also kill... It all depends on how, when and where they are use and against whom! Let us not abuse our words. It's a misuse of the tongue!

The words sounded like a mournful incantation.

Our memory fragments don't have any coherence until they're imagined in words. Time is a property of language, of syntax, and tense.