Lee Siegel Famous Quotes
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I recognized the great monument from the illustration in the copy of /The Jungle Book/ that my mother kept in the top drawer of my bedside table. When I went with Sophia to the Taj Mahal for the first time, I was not as enchanted by the real mausoleum as I had been by its plaster, paint, and paper replica in the studio; the original posed a dreadfully seductive promise in cool marble of a strangely painful loveliness, a lover's lie that death itself might in some mysterious way, because of love, be lovely.
Everyone seems to be fleeing from the responsibilities that come from being who you are. I think that is why the blogosphere is thriving. It allows people to develop a fantasy self.
A single week of Oprah takes you from bondage to all the violent terrors of life, to escape through vicarious encounters with celebrity, to visions of charity and hope, to hard resolve, to redemption and moral renovation.
Ever since the romantic comedy-drama 'She's Gotta Have It' antagonized black women and black men in 1986, Spike Lee's films have enjoyed the outrage of various groups.
It became inevitable that television would address life's mundane problems because television itself is so mundane, part of the ordinary flow of time the way those problems are.
Everything, taboo and familiar, occurs on the same screen.
The Web critic relies on his or her readers for attentiveness and approval.
Instead of books, art, theatre, and music being consigned to specialized niches, we might have a criticism that better reflects the eclecticism of our time, a criticism that takes in various arts all at once.
The terrorist threat is so cloudy, faceless, and vague, so manipulable by political purposes, so definitely present but indefinitely manifested, that it sometimes feels interchangeable with everyday dread itself.
They were learning how to perform their privacy.
Oprah's aspiration to inspire her audience with hope - elaborated on her TV show, in her magazine, and on her website - is hardly ignoble.
In the end, despite all your careful introspecting, you pay for following your instincts. And the more intensely and honestly you live, the more incessantly you pay. If you have become that particular, irreducible person, you get precisely what you want but no more. This is the unforgiving truth.
Every 'Oprah Winfrey Show' has about it the aura of Oprah's own life, just as the rituals and sacraments of a religion are suffused with the life of the religion's founder. Above the testimony of Oprah's guests hovers what viewers know about Oprah's experience.
I react very badly when mediocrity throws a tantrum of entitlement.
'Hotel Rwanda' is an American product, not a Rwandan one, made primarily for American audiences.
Anonymity is a universal convention of the blogosphere, and the wicked expedience is that you can speak without consequences.
In urban America, you do not so much meet a romantic partner as inherit the product of someone else's romantic crimes.
All love songs, no matter how eloquent or crude, ornamented or plain, in whatever language they are sung, say essentially the same thing. All love stories have but one meaning.
It's okay, you can do it. Because I am playing with myself as I write this, I hope you're doing the same as you read it. Otherwise there's not much point. Go ahead. Don't be shy or modest, prudish or self-conscious. That's it. It feels nice, doesn't it?
The assimilation of taboo images to the everyday language of doing business produces a strange effect. It domesticates the taboo while at the same time making the everyday transactional world more porous, more open to the forbidden. The wolf of unbridled appetite slips into everyday convention in the sheep's clothing of commercial language.
I am too childlike to be immature.
In 1986, human nature in America started to change. That year, 'The Oprah Winfrey Show,' based in Chicago, became nationally syndicated, and the country entered the beginning stages of a quiet cultural revolution.