metaphor

Translation error is compounded by bias error. We distort others by forcing into them our preferred ideas and gestalts, a process Proust beautifully describes: We pack the physical outline of the creature we see with all the ideas we already formed about him, and in the complete picture of him which we compose in our minds, these ideas have certainly the principal place. In the end they come to fill out so completely the curve of his cheeks, to follow so exactly the line of his nose, they blend so harmoniously in the sound of his voice that these seem to be no more than a transparent envelope, so that each time we see the face or hear the voice it is our own ideas of him which we recognize and to which we listen.

At first, when a child meets something that scares him, the fear grows, like a wave. But when he goes into the water and swims - gets used to the water - the wave grows small. If we pull the child away when the wave is high, he never sees that, never learns how to swim and remains afraid. If he gets a chance to feel strong, in control, that's called coping. When he copes, he feels better.

...explaining men still assume I am, in some sort of obscene impregnation metaphor, an empty vessel to be filled with their wisdom and knowledge.

A child cannot quarrel with its elders, as I had done, cannot give its furious feelings uncontrolled play, as I had given mine, without experiencing afterwards the pang of remorse and the chill of reaction. A ridge of lighted heath, alive, glancing, devouring, would have been a meet emblem of my mind when I accused and menaced Mrs. Reed: the same ridge, black and blasted after the flames are dead, would have represented as meetly my subsequent condition.

The common man prays, 'I want a cookie right now!' And God responds, 'If you'd listen to what I say, tomorrow it will bring you 100 cookies.

I think poetry without metaphor is like husband and wife living in separate bedrooms.

A writer will divine a metaphor from a pattern on a dress, or a gesture, because sunsets have been done before.

His body had almost no hair and his naked little circumcised johnson was nearly as pale as the rest of him, white as a boy's - perhaps over time one's genitals emerge from the pots and bubbling vats of love permanently stained, like the hands of a wool dyer.

Fighting is found everywhere in the animal kingdom and nowhere so much as among human animals. Animals fight to get what they want--food, sex, territory, control, etc.--because there are other animals who want the same thing or who want to stop them from getting it. The same is true of human animals, except that we have developed more sophisticated techniques for getting our way. Being "rational animals," we have institutionalized our fighting in a number of ways, one of them being war. Even though we have over the ages institutionalized physical conflict and have employed many of our finest minds to develop more effective means of carrying it out, its basic structure remains essentially unchanged. In fights between brute animals, scientists have observed the practices of issuing challenges for the sake of intimidation, of establishing and defending territory, attacking, defending, counterattacking, retreating, and surrendering. Human fighting involves the same practices. Part of being a rational animal, however, involves getting what you want without subjecting yourself to the dangers of actual physical conflict. As a result, we humans have evolved the social institution of verbal argument. We have arguments all the time in order to try to get what we want, and sometimes these "degenerate" into physical violence.

The beauty of a metaphor is it doesn't have to be real to ring true. The instant a metaphor becomes true it ceases to be a metaphor, which suggests a disconnect between truth and what's commonly referred to as reality.

If we lived close to nature in an agricultural society, the seasons as metaphor and fact would continually frame our lives. But the master metaphor of our era does not come from agriculture - it comes from manufacturing. We do not believe that we 'grow' our lives - we believe that we 'make' them. Just listen to how we use the word in everyday speech: we make time, make friends, make meaning, make money, make a living, make love.

I realized, when I saw the forest burning, how fascinating the firelight is. It's beautiful, and people stare at it, don't they? It destroys things and kills people, but humans love it. Is it because they crave their own destruction, Sam? I want to understand your kind. I am going out into the wider world, and I must learn. But first things first. First, to escape this shell, this egg in which I have gestated, all eyes will be on the fire, all eyes blinded by the smoke, and when I walk out of here, out into your large world with its billions, no one will even see. It's the beauty of light, don't you see, Sam? It reveals, but it also distracts and blinds. It's even better than darkness.

Know that diamonds and roses are as uncomfortable when they tumble from one's lips as toads and frogs: colder, too, and sharper, and they cut.

Reality is a cliché from which we escape by metaphor.

The heart pointed to the brain and said with great disdain, __hose who live their lives in here live the lives most full of fear.

Maybe that was why the French called orgasms __as 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.

As iron is eaten away by rust, so the envious are consumed by their own passion.

Love is a snowmobile racing across the tundra and then suddenly it flips over, pinning you underneath. At night, the ice weasels come.