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“If you want your book to lead the pack, you must write in a genre and deliver a manuscript that suits you as an author, in terms of both your talent and skills and your background and education (formal and informal—for some books, for instance, time spent in prison can come in handy), and write on a subject for which there is an audience, in a manner that communicates your story and message. All this is to give yourself the best possible shot at finding the readers who will buy your book. Barry, Sam (2010-05-18). Write That Book Already!: The Tough Love You Need To Get Published Now (p. 107). F+W Media, Inc Kindle Edition.”

“The problem with the so-called bloody surveillance state is that it’s hard work trying to track someone’s movements using CCTV – especially if they’re on foot. Part of the problem is that the cameras all belong to different people for different reasons. Westminster Council has a network for traffic violations, the Oxford Street Trading Association has a huge network aimed at shop-lifters and pickpockets, individual shops have their own systems, as do pubs, clubs and buses. When you walk around London it is important to remember that Big Brother may be watching you, or he could be having a piss, or reading the paper or helping redirect traffic around a car accident or maybe he’s just forgotten to turn the bloody thing on.”

“'Healing through sharing for empowering'. Po polsku: uzdrawianie psychiki przez dzielenie się sie swoimi doświadczeniami, dzięki czemu jednostka uzyskuje świadomość własnej wartości i siłę do działania.
Zawsze mnie fascynowała łatwość i naturalność, z jaką Amerykanie czy Kanadyjczycy używają takich słów; my nie mamy nawet dobrego jednowyrazowego odpowiednika, nie mówiąc już o stosowaniu podobnych terminów w codziennej rozmowie. Co, swoją drogą, więcej mówi o różnicach kulturowych między Polską a anglosaskim światem niż niejedno opasłe opracowanie.”

“Our species has a strange fascination for the 'last' and the 'lost'. The thrill of an experience that future generations can enjoy is as nothing compared to the value of seeing something that subsequently was ruined. He who sees last, sees best. Just a grieving relatives will argue about who had the last word with the deceased.”

“e leaned back on his elbow, his black leather pants tightening over his legs, and smiled. It was his famous “come-hither” smile, the one the media loved to broadcast, the kind of smile no woman who’d gone through puberty would ignore. It promised things, wild, wicked, hot things. It probably almost never misfired. Well, he was in for a surprise.”

“Nagle rozległ się rozdzierający uszy ryk. Fala ciemnych stworzeń wpadłą na teren zabawy . Była to horda goblinów! - Oddział łapaczy! Oddział łapaczy! - krzyczał szef goblinów, wyszczerzając rzadkie zęby w krzywym uśmiechu z radosną złośliwością. - Każdy, kogo złapiemy, zostaje wcielony do armii goblinów! I złapał drzewnego fauna za ramię. Faun był większy i masywniejszy od goblina, ale sparaliżowany strachem, niezdolny do obrony. Nimfy wrzeszczały i nurkowały do wody Nikt nie miał zamiaru przeciwstawić się walczyć z najeźdżcami. Reka Dora powędrowała do miecza. Gobliny nie wzniecą w nim przerażenia! - Czekaj, przyjacielu - zaświergotał pająk. - To nie nasza sprawa.”

“At the subatomic level, reality is the collection of all possible quantum objects (Objects in an axiomatic sense), for example, an electron exists genuinely before measurement. Objects are devoid of experimental content, belonging to the 'hidden' (implicit) reality, about which one can only say that it exists (ontic truth – Def. 7.2.) and serves as a substrate (ex nihilo nihil fit) for S-objects (e.g., an electron after measurement), appearing as the effect of measurement performed by an observer (ontic truth). S-construct is essentially a model of S-object (e.g., characteristics of an electron after measurement), providing a more or less experimentally verified characterization of the electron as such (correspondence truth – Def. 7.2.). In the case of RAES, the electron is an abstract-essential entity that exists independently of the knowing subject and physical reality but can be reconstructed by the knowing subject (if it exists at all) in an infinite series of approximations (asymptotic truth – Def. 7.2.)”

“Editors are inundated with submissions, and every editor comes into work each day to find a new stack of manuscripts and proposals. They are all looking out for books in their area of interest or expertise, and they are trying to avoid books that are too similar to something else the house has recently bought or published, as well as books by fanatics, lunatics, and terrible writers. Barry, Sam (2010-05-18). Write That Book Already!: The Tough Love You Need To Get Published Now (p. 95). F+W Media, Inc Kindle Edition.”

“"Child, to say the very thing you really mean, the whole of it, nothing more or less or other than what you really mean; that's the whole art and joy of words." A glib saying. When the time comes to you at which you will be forced at last to utter the speech which has lain at the center of your soul for years, which you have, all that time, idiot-like, been saying over and over, you'll not talk about joy of words. I saw well why the gods do not speak to us openly, nor let us answer. Till that word can be dug out of us, why should they hear the babble that we think we mean? How can they meet us face to face till we have faces?”

“'In Australia one has to consider whose and what aspects of cultures are reproduced. While recognising goals and functions for Indigenous Literature depicted by Indigenous authors, it is important to remember their comments on the mainstream literary critique and notice the above mentioned Indigenous Literature’s unsteady position within Literary History and Institutions. Not represented up to its miscellaneous aptitudes, Aboriginal literature (within literary discourses and social forms of organisation) engages with various systems of signs in the production of texts. These very texts replicate the meanings of a culture, which must be seen as ever changing. Assuming exclusiveness, and inclusiveness of Indigenous Literature, this article’s intention has been to dismantle the perspective of theoretical nativism in the case of Australian Indigenous Literature.' (ANTI-NATIVISM IN AUSTRALIAN INDIGENOUS LITERATURE. Kultura Globalizacja Historia, nr7) 'To jest moja droga koniecznosci/ za krotkie mam rece/ by siegnac snow/ zamieszkalych na drugim koncu' (Punkt widzenia)”

“(...) I share almost ninety-nine per cent of my genes with a chimpanzee - and our longevity is virtually the same - but I don't think you have an inkling of how much more I comprehend, and yet I know I must tear myself away from it. For example, I have a good grasp of just how infinitely great outer space is and how it's divided into galaxies and clusters of galaxies, spirals and lone stars, and that there are healthy stars and febrile red giants, white dwarfs and neutron stars, planets ans asteroids. I know everything about the sun and moon, about the evolution of life on earth, about the Pharaohs and the Chinese dynasties, the countries of the world and their peoples as presently constituted, not to mention all the studying I've done on plants and animals, canals and lakes, rivers and mountain passes. Without even a pause for thought I can tell you the names of several hundred cities, I can tell you the names of nearly all the countries in the world, and I know the approximate populations of every one. I have a knowledge of the historical background of the different cultures, their religion and mythology, and to a certain extent also the history of their languages, in particular etymological relationships, especially within the Indo-European family of languages, but I can certainly reel off a goodly number of expressions from the Semitic language too, and the same from Chinese and Japanese, not to mention all the topographical and personal names I know. In addition, I'm acquainted with several hundred individuals personally, and just from my own small country I could, at the drop of a hat, supply you with several thousand names of loving fellow countrymen whom I know something about - fairly extensive biographical knowledge in some cases. And I needn't confine myself to Norwegians, we're living more and more in a global village, and soon the village square will cover the entire galaxy. On another level, there are all the people I'm genuinely fond of, although it isn't just people one gets attached to, but places as well: just think of the all the places I know like the back of my hand, and where I can tell if someone's gone chopped down a bush or moved a stone. Then there are books, especially all those that have taught me so much about the biosphere and outer space, but also literary works, and through them all the imaginary people whose lives I've come to know and who, at times, have meant a great deal to me. And then I couldn't live without music, and I'm very eclectic, everything from folk music and Renaissance music to Schonberg and Penderecki, but I have to admit, and this has a bearing on the very perspective we're trying to gain, I have to admit to having a particular penchant for romantic music, and this, don't forget, can also be found amongst the works of Bach and Gluck, not to mention Albinoni. But romantic music has existed in every age, and even Plato warned against it because he believed that melancholy could actually weaken the state, and it's patently clear when you get to Puccini and Mahler that music has become a direct expression of what I'm trying to get you to comprehend, that life is too short and that the way human beings are fashioned means they must take leave of far too much. If you've heard Mahler's Abschied from Das Lied von the Erde you'll know what I mean. Hopefully you'll have understood that it's the farewell itself I'm referring to, the actual leave- taking, and that this takes place in the self-same organ where everything I'm saying goodbye to is stored.”