text:
Wikiquote:Votes for deletion archive/Link Starbureiy

 * The following discussion is an archived debate of the proposed deletion of the article below. Please do not modify it. Subsequent comments should be made on the appropriate discussion page (such as the article's talk page or in a deletion review).  No further edits should be made to this page.

The result was: delete. —LrdChaos (talk) 16:05, 28 November 2006 (UTC)

Link Starbureiy
The intro currently says that "Link Starbureiy is a mathematician and founder of The Egglepple Company." The WP link is to a non-existent article, nor does there appear to be an article (or even an AfD) for the company name. The sources provided appear to be from blogs, which are not wiki-reliable sources. ~ Jeff Q (talk) 08:49, 21 November 2006 (UTC)

 * Vote closed. Result: delete (six votes to delete, one vote to keep from anon. with no contributions). —LrdChaos (talk) 15:59, 28 November 2006 (UTC)

 * Delete unless notability evidence provided and quotes reliably sourced. ~ Jeff Q (talk) 08:49, 21 November 2006 (UTC)
 * Delete. ~ UDScott 13:11, 21 November 2006 (UTC)
 * Delete. —LrdChaos (talk) 16:39, 21 November 2006 (UTC)
 * Delete. - InvisibleSun 16:56, 21 November 2006 (UTC)
 * Keep because the quotes are accurate and reliably sourced. ~ Random 17:02, 21 November 2006 (UTC)
 * Delete. The only search result which seems significant to me was this google cached Uncyclopedia article. The significance is that it has since been deleted from Uncyclopedia. This does not bode well for the notability of the topic. Fys. “Ta fys aym”. 22:02, 21 November 2006 (UTC)
 * See the uncyclopedia 'huff' (delete) log. Fys. “Ta fys aym”. 00:50, 22 November 2006 (UTC)
 * I must say, as an overworked sysop, I find the Unencyclopedia's "huff" log, and its backing Uncyclopedia:Forest Fire Week practice, quite amusing and useful. But I must remind myself, as I do so many editors, that Wikiquote is a serious compendium, etc. ☺ I would have to agree with Fys that getting summarily kicked out of Unencyclopedia is surely a bad sign, implying Starbureiy's not notable enough to mock, either. ~ Jeff Q (talk) 08:14, 23 November 2006 (UTC)

 * Delete. 121a0012 05:45, 22 November 2006 (UTC)

 * The above discussion is preserved as an archive of the debate. Please do not modify it. Subsequent comments should be made on the appropriate discussion page (such as the article's talk page or in a deletion review). No further edits should be made to this page.


text:
Wikiquote:Votes for deletion archive/Green Acres

 * The following discussion is an archived debate of the proposed deletion of the article below. Please do not modify it. Subsequent comments should be made on the appropriate discussion page (such as the article's talk page or in a deletion review).  No further edits should be made to this page.

The result was: delete. —LrdChaos (talk) 16:06, 28 November 2006 (UTC)

Green Acres
Content is simply copied from the "memorable quotes" section of IMDB, representing a copyright violation. ~ UDScott 13:35, 21 November 2006 (UTC)

 * Vote closed. Result: delete (seven votes to delete, no dissent). —LrdChaos (talk) 16:00, 28 November 2006 (UTC)
 * Delete, unless valid quotes from the show, and not just copied from IMDB are provided. ~ UDScott 13:35, 21 November 2006 (UTC)
 * Delete. - InvisibleSun 16:57, 21 November 2006 (UTC)
 * Delete. —LrdChaos (talk) 17:02, 21 November 2006 (UTC)
 * Delete. Copyvio. Fys. “Ta fys aym”. 17:04, 21 November 2006 (UTC)
 * Delete per nom Unbelievable 04:45, 22 November 2006 (UTC)
 * Delete. 121a0012 05:46, 22 November 2006 (UTC)
 * Delete unless properly sourced quotes are added and formatted per Templates/TV shows. I have removed the quotes (and the inappropriate user signature) and added a copyvio note and some basic info & links to help anyone trying to fix the article. This is becoming such a common problem that we should probably (A) have a template for a standard copyvio-material-removed message (just not with that cumbersome name!) and (B) make sure we have a section in Copyrights and/or Templates/TV shows that advises editors how best to avoid or fix such a problem. ~ Jeff Q (talk) 06:10, 23 November 2006 (UTC)

 * The above discussion is preserved as an archive of the debate. Please do not modify it. Subsequent comments should be made on the appropriate discussion page (such as the article's talk page or in a deletion review). No further edits should be made to this page.

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/


text:
Wikiquote:Votes for deletion archive/Haile Selassie

 * The following discussion is an archived debate of the proposed deletion of the article below. Please do not modify it. Subsequent comments should be made on the appropriate discussion page (such as the article's talk page or in a deletion review).  No further edits should be made to this page.

The result was: keep. —LrdChaos (talk) 16:06, 28 November 2006 (UTC)

Haile Selassie
The entire text of a speech is not what WQ is about. This page should either be trimmed to a few memorable quotes (and properly sourced) or else deleted in its entirety. ~ UDScott 13:40, 21 November 2006 (UTC)

 * Vote closed. Result: keep (five votes to keep, one vote to delete). —LrdChaos (talk) 16:01, 28 November 2006 (UTC)
 * Delete, unless the page is cleaned up to only include a few memorable quotes that are properly sourced. ~ UDScott 13:40, 21 November 2006 (UTC)
 * Keep after Jeff's work to clean this page up. ~ UDScott 21:41, 26 November 2006 (UTC)
 * Delete. - InvisibleSun 16:59, 21 November 2006 (UTC)
 * Delete. —LrdChaos (talk) 17:02, 21 November 2006 (UTC)
 * Keep with the improvements. —LrdChaos (talk) 15:56, 27 November 2006 (UTC)
 * Transwiki to Wikisource. Fys. “Ta fys aym”. 17:04, 21 November 2006 (UTC)
 * Comment: as the text is presumably still in-copyright and not published under a free license, it doesn't qualify for Wikisource either. 121a0012 05:48, 22 November 2006 (UTC)
 * Keep as rewritten. Fys. “Ta fys aym”. 16:32, 24 November 2006 (UTC)
 * Delete per UDScott. 121a0012 05:48, 22 November 2006 (UTC)
 * Keep now, after I deleted the speech and replaced it with quotes from Haile Selassie. This article was actually a copyvio of H.I.M. Haile Selassie I, from BobMarley.com, as can be seen by the identical introductory text. Incidentally, transwiki'ing the actual speech (perhaps to Haile Selassie's 1963 U.N. speech) is still a reasonable option. According to s:Portal:Speeches/Copyright, Wikisource will "host such speeches only when they are political speeches by a political figure, as we take the view these are not protected by copyright". Although the (original) source is a copyrighted book, neither it nor the website can copyright the transcription of a speech, or at least that seems to be WS's position. ~ Jeff Q (talk) 09:00, 23 November 2006 (UTC)
 * Comment: There seems to be some confusion between Wikipedia, Wikiquote, and the website about the speech, anyway. The only readily available source, the website, indicates this speech was given in 1963, but the WP article says it was 1968. All sources claim this speech somehow informed Bob Marley's song "War", but Marley's lyrics are much more to the point than anything I found in the Selassie transcription, including the supposed quote listed in WP (which I transferred here). This says to me that this claim needs a reliable source, which significantly disinclines me to do the transwiki, unless these discrepancies are resolved. ~ Jeff Q (talk) 09:00, 23 November 2006 (UTC)
 * Comment: I have now added at least premlinary sources for all four current quotes. ~ Jeff Q (talk) 08:47, 24 November 2006 (UTC)

 * The above discussion is preserved as an archive of the debate. Please do not modify it. Subsequent comments should be made on the appropriate discussion page (such as the article's talk page or in a deletion review). No further edits should be made to this page.


text:
User talk:86.133.95.9

Hugo Chávez
I have reverted your edit to the Hugo Chávez page, as it appears that you simply copied the entire Wikipedia page for Chávez and pasted it into this page. —LrdChaos (talk) 16:18, 28 November 2006 (UTC)

title: User talk:86.133.95.9


text:
Category:Mockumentary films

A mockumentary (a portmanteau of the words mock and documentary) is a type of film or television show in which fictional events are presented in documentary style to create a parody. These productions are often used to analyze or comment on current events and issues by using a fictional setting, or to parody the documentary form itself.

title: Category:Mockumentary films


text:
Category:Economics

 * See also: Category:Economists (people).

title: Category:Economics


text:
Talk:February 6

In the fact that this gentleman has made such a fine point in the troubled time in this age of fear pronounces the clarity of the human mind, that even in panic and parranoia some will not be silenced. Vaugely, it reminds me of another quote, and I am frustrated that i do not remember the name of its originator, which states that those who are asked to choose between freedom and security shall have neither.

title: Talk:February 6


text:
User talk:67.118.62.6

Please stop adding nonsense to Wikiquote, as you did to The Hitchhiker's Guide to the Galaxy. It is considered vandalism. If you would like to experiment, use the sandbox. —LrdChaos (talk) 18:12, 28 November 2006 (UTC)

title: User talk:67.118.62.6


text:
User talk:JosephKlausmeyer

Hi. Welcome to English Wikiquote. Enjoy!  Cbrown1023  talk  02:04, 7 February 2007 (UTC)
 * For a quick overview of what Wikiquote is, read Wikiquote.
 * Also see What Wikiquote is not for common activities that Wikiquote does not support.
 * To ask for help or to talk with another editor, visit our Village pump.
 * To browse Wikiquote, take a look at our browsing start page.
 * Before creating new articles, consult our guide. You may practice how to edit a page at Sandbox.
 * Please remember to use edit summaries when editing pages.
 * When posting to a discussion, please sign with a date by writing four tildes (~~) and saving.
 * Be bold.

title: User talk:JosephKlausmeyer


text:
User talk:147.252.91.135

- InvisibleSun 19:18, 28 November 2006 (UTC)

- InvisibleSun 19:45, 28 November 2006 (UTC)

title: User talk:147.252.91.135


text:
User talk:203.144.144.164

Please refrain from removing content from Wikiquote, as you did to Musical form. It is considered vandalism. If you want to experiment, please use the sandbox. Thank you. —LrdChaos (talk) 19:32, 28 November 2006 (UTC)

title: User talk:203.144.144.164


text:
User talk:71.76.235.18

Pizza
Please don't just blank this page. It's currently undergoing a discussion at Votes for deletion, and as such, the page's content and the vfd tag must remain intact so that editors can see what it is that they're discussing. —LrdChaos (talk) 19:36, 28 November 2006 (UTC)

title: User talk:71.76.235.18


text:
User talk:63.199.34.15

Please stop adding nonsense to Wikiquote, as you did to Wikipedia. It is considered vandalism. If you would like to experiment, use the sandbox. —LrdChaos (talk) 19:45, 28 November 2006 (UTC)

title: User talk:63.199.34.15


text:
User talk:64.90.250.32

Please stop adding nonsense to Wikiquote, as you did to Last words. It is considered vandalism. If you would like to experiment, use the sandbox. —LrdChaos (talk) 19:46, 28 November 2006 (UTC)

title: User talk:64.90.250.32


text:
User talk:12.96.43.31

Please stop adding nonsense to Wikiquote, as you did to Pulp Fiction. It is considered vandalism. If you would like to experiment, use the sandbox. —LrdChaos (talk) 20:18, 28 November 2006 (UTC)

title: User talk:12.96.43.31


text:
Talk:Ernest Bevin

UK nuclear weapons
anyone want to incorporate the famous quote "we have got to have this thing over here whatever it costs... we have got to have [a] bloody Union Jack on top of it..." ,, , also quoted in the TUBE ALLOYS arricle Pickle 17:43, 22 March 2006 (UTC)

160.5.247.8 21:20, 28 November 2006 (UTC)

 * OK, have put it in the 'attributed section'. I have heard this before and it certainly accords with Bevin's views, but as it was said in private I doubt we will have a proper source. I might check with the Cabinet Committee papers in the PRO, but they tend to be cleaned of any interesting language. Fys. “Ta fys aym”. 11:50, 29 November 2006 (UTC)

Unsourced

 * They say that Gladstone was at the Treasury from 1860 to 1930. I intend to be Minister of Labour from 1940 to 1990!

 * If you open that Pandora's Box, you never know what Trojan 'orses will jump out!
 * On the Council of Europe.

 * Not while I'm alive he ain't.
 * Nigel Rees, "Sayings of the Century" (Unwin Hyman, 1987), p. 233
 * Bevin's response to an overheard remark that "Nye is his own worst enemy". Also applied to Herbert Morrison and Emanuel Shinwell.

title: Talk:Ernest Bevin


text:
User talk:88.191.15.89

- InvisibleSun 21:50, 28 November 2006 (UTC)

title: User talk:88.191.15.89


text:
User talk:Brendan Buskirk

- InvisibleSun 21:52, 28 November 2006 (UTC)

Welcome
Hi. Welcome to English Wikiquote. Enjoy! ~ Jeff Q (talk) 06:07, 29 November 2006 (UTC)
 * For a quick overview of what Wikiquote is, read Wikiquote.
 * To ask for help or to talk with another editor, visit our Village pump.
 * To browse Wikiquote, take a look at our browsing start page.
 * To sign with a date, write four tildes (~~) and save.
 * Before creating new articles, consult our guide. You may practice how to edit a page at Sandbox.
 * Be bold.

title: User talk:Brendan Buskirk


text:
User talk:88.191.28.2

- InvisibleSun 21:53, 28 November 2006 (UTC)

title: User talk:88.191.28.2


text:
User talk:161.97.203.29

Please refrain from removing content from Wikiquote, as you did to Wikiquote:Village pump. It is considered vandalism. If you want to experiment, please use the sandbox. Thank you. —LrdChaos (talk) 21:54, 28 November 2006 (UTC)

title: User talk:161.97.203.29


text:
Without a Paddle

Without a Paddle is a 2004 film about three men going on a camping trip. The film is somewhat a parody of adventure films like Deliverance. The call of the wild, the thrill of adventure. The mistake of a lifetime. (taglines)

Tom Marshall

 * It was like her eyes were trying to escape her head.
 * I'm not an astronaut, I'm an American.
 * This never leaves the cave.
 * [discovering a barn full of marijuana] Great mother of ganja!

Jerry Conlaine

 * You guys, check out this map. It looks like Billy left us a treasure map.
 * Wow, this song is so uncool.
 * No worries, no responsibilities, just living in the moment.

Dan Mott

 * [Billy's Italian girlfriend rubs herself on his casket] Billy's dead and he still has a better chance of getting laid than I do.
 * [While high on marijuana, after dodging a bullet] Whoa... Matrix.

Del Knox

 * [After finding Dan, Jerry and Tom in their boxers] Freeze you perverts!
 * [after giving the nearly naked guys clothes] I'd get dressed faster if I were you 'cause I've been alone in this cabin for 30 years.
 * [after scaring off Dennis and Elwood] When you peckawoods get your diapers cleaned come back! I'll be waiting!

Other

 * River Guide: [While talking to Jerry, Dan and Tom about renting the canoe] There's a transmitter in the canoe. So just in case you three go missing, at least we'll get our boat back.
 * Elwood: [After cutting off a fish's head with a hatchet] How you like me now? Huh? How you like me now, fishy? Oh, yeah, that's right you can't talk, cause you don't have a head and I cut it off!
 * Dennis: [hearing "Do You Really Want To Hurt Me" being sung] The hills have gone gay.
 * Dennis and Elwood: [singing] Yes we really want to hurt you. Yes we really want to make you cry. Yes we really want to shoot you. Yes we really want to make you die.

Dialogue

 * Jerry Conlaine: [to Denise] Here's the thing: the guys and I are going on a treasure hunt and I know it sounds dumb, but its something that we have to do. For Billy.
 * Denise: That doesn't sound dumb at all, I completely understand.
 * Jerry Conlaine: [surprised] You do?
 * Denise: Just call me when you get a chance. But I... I might be out of the house, for a bit.  Yeah cause my girlfriends and I, we're gonna go on a search for the Lost City of Atlantis!

 * Jerry Conlaine: Let's take Billy's trip.
 * Tom Marshall: I say hell yes!

 * Tom Marshall: We'll shine them. It's an old Cherokee trick.
 * Jerry Conlaine: Oh, I forgot. The Cherokee have been using flashlights for thousands of years.
 * Dan Mott: Didn't they pioneer the D-cell battery?

 * Jerry Conlaine: I christen this, Duke the second! [smashes beer bottle on canoe]
 * River Guide: Thanks for breaking glass where my kids play.

 * Dan Mott: I'm out.
 * Jerry Conlaine: What does that mean?
 * Tom Marshall: I think it means he's out. Like coming out, like he's finally admitting he's gay.

 * [the three boys are wearing only their boxers at night, after losing their clothes]
 * Dan Mott: You know, things are as bad as they could possibly get.
 * [starts raining hard, Jerry and Tom look up at the rain]
 * Dan Mott: I stand corrected!

 * [Finding themselves without their clothes and are planning to sleep in the cold night while it is raining]
 * Dan Mott: The only chance we have to survive is to huddle together for warmth...
 * Jerry Conlaine: I, for one, choose death.

 * Jerry Conlaine: Well I was a boy scout, you were a boy scout too right Tom?
 * Tom Marshall: No but I ate a brownie once.

 * [After Jerry had an erection while huddling with Tom and Dan for warmth]
 * Jerry Conlaine: Come back to bed, you guys. I'm freezing.
 * Tom Marshall: Not until he puts Jabba back in his Hut!

 * [Tom rudely arrives at Billy's funeral on his motorcycle]
 * Tom Marshall: Is this Billy's funeral? Is that the corpse of Billy Newwood?
 * [Crowd gasps, Tom sees Jerry amongst group]
 * Tom Marshall: That you, Jerry?
 * Jerry Conlaine: Tom!
 * Tom Marshall: Dan with you? Where'd you guys park?

 * Dan Mott: [after Tom had offered to distract Dennis and Elwood instead of Jerry] Give 'em hell, Tommy
 * Tom Marshall: [about to rappel down the tree] This hell-mart's open for business, and I'm slashing prices.

 * Jerry Conlaine: Come on, Dan. It's like when we'd jump off the railroad bridge into the river when we were kids. This is higher than that.
 * Dan Mott: But I never did jump in the river! You guys always pushed me when I wasn't looking!
 * Jerry Conlaine: Oh yeah! [Pushes Dan]

 * Dan Mott: Mmm, bacon.
 * Del Knox: Squirrel.
 * Dan Mott: Mmm, squirrel.

 * Dan Mott: Hey guys look! A wild deer! All out in the open like that!
 * [Deer looks back at Dan and growls]

 * Tom Marshall: He won't bother you if you're in the fetal position.
 * [Bear approaches]
 * Tom Marshal: Abort the fetal position!

 * [Jerry, Tom and Dan are being chased by a bear]
 * Dan Mott: What are you doing?
 * Jerry Conlaine: Taking off my shoes.
 * Dan Mott: Why?
 * Jerry Conlaine: Because I run faster with no shoes
 * Dan Mott: You can't outrun that bear!
 * Jerry Conlaine: I don't have to outrun the bear, I just have to outrun you!

 * Jerry Conlaine: Wait a second. Tom, were you really employee of the month?
 * Tom Marshall: No! I lied about that too!

 * Dan Mott: This trip is officially over! This is finished! Let's just go home.
 * Tom Marshall: I agree. That is a great idea. All we've got to do is jump up over that 100-foot waterfall, swim upstream 20 miles, get the sheriff on the phone. He liked us, I remember. And he'll send out a rescue boat. And--hey, there's a beer in the river. Cool.

 * Dan Mott: [imitating C-3PO] We are in serious trouble my friends. All data points to us being--how do you humans say it?-- completely screwed?
 * Dan Mott: Yeah. You know, that is, that's a good way to say it. That pretty much sums it up.
 * Dan Mott: [imitating C-3PO] As expected, Tom is drunk.

 * Dan Mott: Where are we?
 * Jerry Conlaine: Corner of Bum-fuck and You Got a Purty Mouth.

 * [While lost in the woods and then hearing rock music]
 * Dan Mott: Hey, that sounds like Creed.
 * Tom Marshall: I never thought I'd be happy to hear anything that sounds like Creed.

 * Tom Marshall: [urging Dan to climb through a hole] Come on Dan, your the only one small enough to get through.
 * Jerry Conlaine: That's what she said.

 * [Dennis & Elwood approach, carrying rifles]
 * Jerry Conlaine: When we get out of this someone's buying a round of drinks, not it.
 * Tom Marshall: Not it.
 * Dan Mott: Is there beer in heaven?
 * Jerry Conlaine: I was thinking more the bar in town.
 * [Giant redwood flattens Dennis & Elwood]

 * Denise: Can you please be serious for 5 minutes?
 * Jerry Conlaine: My record is 4 but I think I can do it.

 * Del Knox: Whatever it is you guy are looking for, you gotta go out there and get it right now.
 * [Tom, Jerry, and Dan get up to leave despite the rain]
 * Del Knox: Not right now you idiots.

 * Jerry Conlaine: [laying in the boat, after rapid riding] I about shit. Did you about shit?
 * Tom Marshall: I about shit.
 * Dan Mott: I did shit.
 * Jerry Conlaine: Oh shit!
 * Dan Mott: What? Oh, shit? Oh, shit! What? Oh, shit--
 * Jerry, Tom & Dan: [All together, while falling off waterfall] Oh Shiiiiiii--

 * River Guide: So, are you a class 4,5?
 * Tom Marshall: Yeah?
 * River Guide: So which one are you?
 * Tom Marshall: Why don't you try to put those numbers together. Yeah. I shot a class 45, and haven't lost a man yet.
 * River Guide: Lie to me, I don't care. I'm not the one who's going to drown.

 * Del Knox: Come with me, or I'll shoot your testicles off and stuff 'em and mount 'em on my mantle-piece.
 * Tom Marshall: That's gonna be an ugly mantle-piece.

 * Jerry Conlaine: So this is Spirit River, we take that to Widowmaker Bend and then we hike to Devil's Staircase and that should lead us right to the top of Hellfire.
 * Dan Mott: What's with all these satanic names? Isn't there, like, a Fluffy Bunny Way?
 * Tom Marshall: No, but there's a Shut-Up-You-Big-Baby Ridge.

 * Tom Marshall: We'll shine them.
 * Jerry Conlaine: That would kill the fish.

 * Dan Mott: What does the map say, Jerry?
 * Jerry Conlaine: [After realizing the map is torn] Oh, you know, it's a map.

 * Dan Mott: Jerry, didn't you see that the river split on the map?
 * Jerry Conlaine: I would have if your friend the big-ass bear hadn't eaten it!

 * Tom Marshall: So you're saying you lost the map? You don't have it?
 * Jerry Conlaine: No, I'm saying I forgot to hold on to it while my ass was free-falling over a 100 foot waterfall
 * Tom Marshall: So you don't have it?

 * Tom Marshall: Let's go through there.
 * Dan Mott: Where? There's no door!

 * Young Billy: Hey, is it cool to be a grown up?
 * Jerry Conlaine: Not really my man.

 * [After hiding from Dennis and Elwood, and Dan discovering that he had swallow a bug]
 * Dan Mott: It crawled straight in my stomach!
 * Jerry Conlaine: Come on, let's go.
 * Dan Mott: I think it laid its eggs in my stomach!

 * Jerry Conlaine: You're a lot smarter than him. Right Dan?
 * Dan Mott: Well, I wouldn't say a lot smarter.

 * Flower: [To Jerry] And what's your forest name?
 * Tom Marshall: His forest name is Slug!

 * Del Knox: I spent the best years of my life sittin' on the porch, playin' the harmonica, waitin' for somethin' better. And the years have been goin' by faster, and faster, and then, all of a sudden, I was an old man.
 * Tom Marshall: Well I bet you can play the shit outta that harmonica!
 * Del Knox: That I can. 'Cept there's no one around to hear me play it. Piece of advice: you can lose your money. You can spend it - all of it. Maybe work hard, get it all back. But if you waste your time, you're never gonna get it back.

 * [While fishing with their hands]
 * Dan Mott: I bet you a hundred grand and my left nut that all you catch in that river is a cold.
 * Tom Marshall: [after catching a fish] You owe me a hundred grand and the left nut!

 * Dan Mott: You guys are spraying me.
 * Tom Marshall: Give me a break. I'm writing your name.
 * Dan Mott: Stop it!

 * [After Tom, Jerry and Dan hide in the river]
 * Elwood: Man, our whole crop is burning! Those assholes are dead! And the bodies that are attached to them are dead, too! Dead! D-E-A-D, dead! Assholes! A-S-S-H-O-
 * Dennis: [interrupting] Stop spelling!

Taglines

 * The call of the wild, the thrill of adventure. The mistake of a lifetime.
 * Three lifelong friends... One lost treasure... What could go wrong?

Cast

 * Dax Shepard - Tom Marshall
 * Matthew Lillard - Jerry Conlaine
 * Seth Green - Dan Mott
 * Burt Reynolds - Del Knox
 * Bonnie Somerville - Denise
 * Ethan Suplee - Elwood
 * Abraham Benrubi - Dennis
 * Rachel Blanchard - Flower
 * Frank Welker - Deer (Growls) and Grizzly Bear and Lynyrd & Skynyrd

title: Without a Paddle


text:
User talk:88.110.169.22

- InvisibleSun 22:46, 28 November 2006 (UTC)

title: User talk:88.110.169.22


text:
User talk:128.198.11.157

Concealment through candor to insure duplicity with honor
I've deleted the page you created for this quote, and moved it over to Reference desk, which is the best place on Wikiquote for making inquries about the sources of quotes. I don't know anything about the source of the quote myself, but someone there might be able to help. —LrdChaos (talk) 23:53, 28 November 2006 (UTC)

title: User talk:128.198.11.157


text:
Talk:It's a Wonderful Life

"What is it you want, Mary? What do you want? You want the moon? Just say the word and I'll throw a lasso around it and pull it down. Hey. That's a pretty good idea. I'll give you the moon, Mary."

Definitely my favorite quote. —The preceding unsigned comment was added by Brett Ashleyx3 (talk • contribs) 00:32, 29 November 2006 (UTC)

Great part of the movie. In fact, great movie. -66.218.19.31

title: Talk:It's a Wonderful Life


text:
User talk:134.157.250.5

Thanks for experimenting with Wikiquote. Your test worked, and has now been reverted or removed. Please use Sandbox for any other tests you want to do, since testing in articles will normally be reverted quickly. Please see the welcome page if you would like to learn more about contributing to our compendium of quotations. Thanks. -- Robert 01:18, 29 November 2006 (UTC)

title: User talk:134.157.250.5


text:
User talk:212.227.103.74

Please stop. If you continue to vandalize pages, as you did to Invader Zim, you will be blocked from editing Wikiquote. —LrdChaos (talk) 02:12, 29 November 2006 (UTC)

title: User talk:212.227.103.74


text:
The Simpsons/Season 15

The Simpsons (1989–present) is an American animated sitcom broadcast by the Fox Broadcasting Company created by Matt Groening. The series is a satirical depiction of American life, epitomized by the Simpson family.

Episode 1.Treehouse of Horror XIV

 * [Death arrives at the Simpsons house]
 * Death: I...AM...DEATH.
 * Homer: Death? We don't want any. [Closes the door, Death breaks through it with his scythe]
 * Death: I HAVE COME FOR BART SIMPSON.
 * Marge: Bart, run like the "wine-d"!
 * Lisa: Mom, it's "wind"!
 * Marge: Well, I only read it in books.

 * Homer: This is for Snowball I and J.F.K.! [Hits Death with a bowling ball. Death's jaw falls out as he falls to the floor and dies. His contract for Bart disappears as well as his scythe, which was holding Bart up]
 * Bart: Cool.
 * Lisa: Dad, do you realize what you've done? You've created a world without death!
 * Homer: Does this mean they'll never cancel The Jim Belushi Show?
 * Lisa: I guess so.
 * Homer: NOOOOOOOO!

 * Young Frink Jr.: I don't wanna go on this oceanographic expedition, father. I get seasick taking a shower. Clean, but nauseous.
 * Professor Frink Sr.: Clean but nauseous! With the rolling and the heaving, and the - you make me sick! You've disgraced the name of John Nerdelbaum Frink.
 * Young Frink Jr.: But, father, I...
 * [Frink Sr. leaves and Frink Jr. cries]

 * Professor Frink Sr.: [after he is revived] So, what am I? Some kind of Tin-Can Man from Planet Tomorrow?
 * Lisa: Sir, your son has brought you back into the 21st century. It's a lot like the 20th, except everyone's afraid and the stock market is much lower.
 * Professor Frink Sr.: Polly don't like that cracker!

 * Professor Frink Jr.: Father, you're dying again, but I can bring you back to life, sir.
 * Professor Frink Sr.: Son, it doesn't take 5 brains in your head to know that's a bad idea. You saw I had become a monster and you stopped me, like a man. I'm proud of you. Now it's time for me to go to Hell. Ow-ooo, ooo-ow-oy, oy-oo-ow, dead. [moves weirdly and drops dead]
 * [Frink Jr. cries for his father's death; Jennifer Garner & Dudley Herschbach observe]
 * Jennifer Garner: This is the most exciting Nobel Prize ceremony ever!
 * Dudley Herschbach: I disagree.

 * Mayor Quimby: People, Springfield is in Crisis. Fingers have been shoved up Noses, Pants have been pulled down and (Click) Mayors (Click) have (Click) been (Click) Repeatedly (Click) Humiliated.

Episode 2.My Mother the Carjacker

 * Homer: [to Mona] Look, Mom! Look! I'm riding by myself! [enters a wrong lane and screams]

 * Mr. Burns: [After he loses his case against Mona] Curse that groovy granny! This is America! Justice should favor the rich!

 * Mona Simpson: [After stealing the prison bus and being chased by police. She gets on the radio to Wiggum] Granny to The Man! Granny to The Man!
 * Chief Wiggum: [Reading from a Hippy/English dictionary] This is...The Man...I think it would...be a gas...if you turned that...Magic Bus around...and kept on truckin' to...our pig pad.
 * Mona Simpson: I don't know what you're saying, but I am not turning back!

 * [On the bus taking Mona to jail, where the prisoners are having a good time]
 * Female Prisoner: I hope this bus ride never ends...'cause I'm getting executed when I get off.

Episode 3.The President Wore Pearls

 * Lisa: Nelson, you're running for school president?
 * Nelson: I'm not saying I have all the answers. But, I do have all the answer keys...to every test.
 * (A group of students and their teacher crowd around Nelson)
 * Nelson: Fractions, dinosaurs, foreign money, the first Thanksgiving...
 * Mrs. Krabappel: Nelson, what are you doing?
 * Nelson: Real-estate license exam?
 * Mrs. Krabappel: My ticket to freedom!

 * Marge: Lisa, what are you doing? This is the kind of trouble making I expect from your brother!
 * Bart: You do? Cool, a blank check for mayhem!
 * (Bart picks up a brick and throws it at a window; however, it ricochets off the unbreakable glass and hits him in the head, knocking him out)

 * Skinner: Lisa. Lisa. Lisa. Wow, she even beat perennial write-in candidate "Seymour Sucks!"

 * Skinner: I'm so happy with my evil plan
 * Say goodbye to music, gym and art.
 * Soon we will have the perfect school
 * Where fun and excitement never start.

 * Willie: I'm so drunk I can barely see
 * But it helps me get through another day!
 * My stomach is filled with haggis and ham
 * I've got to go puke in some hay...

 * Bart: Lisa is a fool!
 * Skinner: I think the rules are cool.
 * Willie: I'VE FALLEN IN THE POOL!!

Episode 4.The Regina Monologues

 * Tony Blair: Hello. Welcome to the United Kingdom.
 * Lisa: Prime Minister Tony Blair?
 * Bart: Why are you greeting lowlifes like us at the airport?
 * Blair: Because I want to encourage all the world to come see the beauty of 21st century Britain.
 * Homer: Would an American dollar encourage you to leave us alone?
 * Blair: No, but thank you.
 * Marge: Tony, I mean, Mr. Prime Minister, what should we see first?
 * Blair: There's so much to see here. Parliament, Stratford-on-Avon, the White Cliffs of Dover, oh, and since you Americans love castles, there's a huge one in Edinburgh, the city where I was born.
 * Homer: The place where I was born is now a gator farm.
 * Blair: Smashing.
 * Lisa: Maybe you could give us a personal tour of your country?
 * Blair: I'd love to. But I'm late for an appointment. I'm greeting a lovely Dutch couple at Gate 23. Cheerio.
 * [puts on a jetpack and flies off, James Bond-style]
 * Homer: Wow, I can't believe we met Mr. Bean!

 * English Squeaky-Voiced Teen: Welcome to Judi Dench's Fish and Chips, (inside) now completely free of mad fish disease.
 * Homer: Fish? I dunno, I'm not really a vegetarian.
 * Teen: Please order, or Miss Dench'll be furious. She'll beat us, she will.
 * Dench: Who are you talking to?
 * English Squeaky-Voiced Teen: No-one, Mum, I swear!
 * Dench: I'll Mum you! (punches him)
 * Teen: Blimey--!

 * [The family spot J.K. Rowling emerging from a bookshop]
 * Lisa: Look, it's J.K. Rowling, author of the Harry Potter books. You've turned a generation of kids onto reading.
 * Rowling: Thank you, young Muggle.
 * Lisa: Can you tell me what happens at the end of the series?
 * Rowling: [sarcastically] He grows up and marries you. Is that what you want to hear?
 * Lisa: [happily] Yes...
 * [Rowling rolls her eyes and walks away]

 * Ian McKellen: We thespians believe it's bad luck to mention the name of this particular play out loud.
 * Homer: You mean MacBeth? (car splashes water onto Ian)
 * Ian: Quiet you blundering fool! You'll curse us all!
 * Homer: What, by saying MacBeth? (anvil falls on Ian's foot)
 * Ian: Stop saying it!
 * Homer: Saying what?
 * Ian: MacBeth! Uh! Now I've said it (Ian gets struck by lightning)
 * Bart: Oh, this is cool. MacBeth, MacBeth, MacBeth. (lightning strikes three times)
 * Marge: Bart! Stop saying MacBeth! (lightning strikes)
 * Lisa: Mom, you said MacBeth! (lightning strikes)
 * Homer: Mr. MacBeth, I'm so sorry! (lightning strikes)
 * Ian: That's quite alright, you didn't know. Now if you'll excuse me, I have a performance to give.
 * Bart: Good luck!
 * Ian: It's bad luck to say that too! (MacBeth sign falls on Ian's head)

 * Marge: That was very sweet of the Queen, letting you go in exchange for taking Madonna back to America.
 * Madonna: I'm telling you! I'm English!
 * Marge: English women don't pump gas naked.
 * Homer: See ya in Atlanta, jerk.

Episode 5.The Fat and the Furriest

 * Homer: That's it kids, suckle daddy's sugar ball.

 * Bart: You're sneaking off to fight that bear, I wanna go too!
 * Homer: No way. If something happens to me, you have to carry on the Simpson name.
 * Bart: Screw that, when I grow up I'm legally changing my name to Joe Kickass!
 * Homer: That is so cool! Okay you can come.

 * Homer: Are you a Care Bear?
 * Care Bear: I'm an intensive care bear.

Episode 6.Today I am A Clown

 * ''[A shot of a broken-down trailer. In front, a sign reads "FOX Network World Headquarters." Inside, Krusty the Clown has a meeting with Fox executives]
 * Krusty: Well, since I'm fresh out of options, I guess all that is left is for me to get a show on... ugh... Fox. What do you say?
 * Executive: I don't know...
 * Krusty: Oh, come on, you guys are famous for taking a chance on useless crap!

 * ''[Krusty is infuriated, because he doesn't have a star on the Jewish walk of fame]
 * Krusty: Why don′t I have a star?! I'm much better than... (squints) Chaim Potok?! What is he, a Klingon?!

 * Homer: Welcome to the Homer Simpson Show. I'm your host... next card... Homer Simpson. It's great to be here in... next card... Springfield.

Episode 7.Tis the Fifteenth Season

 * Krusty The Clown: Now in the spirit of the holiday season, start shopping! And for every dollar of Krusty merchandise you buy, I will be nice to a sick kid. For legal purposes, "sick kids" may include hookers with a cold.
 * [Krusty chuckles]

 * [Homer is with Lenny and Carl at The Power Plant]
 * Carl: Hey, Homer. I'm your secret Santa. Merry Christmas, big guy.
 * [Lenny hands Homer a DVD player]
 * Homer: Oh, my god! A DVD player!
 * Carl: And the first season of Magnum P.I., with commentary by John Hillerman. Apparently, working in Hawaii was a pleasure.
 * Homer: Oh, Carl, you remembered I like TV.

Episode 8.Marge versus Singles, Seniors, Childless Couples and Teens, and Gays

 * Cletus: They destroyed my home, and the equity I built up there in.
 * Kent: Asked if he intends to take legal action the farmer replied "I aint fungdified hi-de-hoo about no legrification, no ways." Then scratched his rear, hitched up his pants, and scratched his rear again.

 * Marge Simpson: My name is Marge Simpson, and I am a mother.
 * Meeting Crowd: BOO!
 * Marge: I'm also an American.
 * Meeting Crowd: YAY!
 * Marge: I bake apple pies.
 * Meeting Crowd: YAY!
 * Marge: And I like baseball.
 * Meeting Crowd: BOO!

 * Lindsey Naegle: I dream of an America with nudity and F-words on network TV. Where the whole world doesn't stop because a school bus did. Children are the future… today belongs to me!
 * Meeting Crowd: [with their fists raised] YAY!
 * Homer Simpson: You can’t change the rules in the middle of the game! We never would've had these kids if we thought we had to pay for them. Promises were made!
 * Luigi: Hey, tough tortellini! I am a-sick and a-tired of printing a-children's menu! Let Mickey Meatball find his own way out of the maze! [spits] Apooey!
 * Mel: We're sick and tired of buying overpriced tickets for your lousy school plays!
 * Marge: Then how would we ever get to see Camelot?!
 * Mel: We'll merely watch the movie on tape!
 * Marge: Hmm..., is that better? Well, to me, Ralph Wiggum is Sir Lancelot.
 * Ralph: [singing] If ever I would leave you, it wouldn't be in summer!
 * Meeting Crowd: BOOOOOOOOOO!
 * Lindsey Naegle: Ladies and Gentlemen! Let's kill every child... FRIENDLY THING IN TOWN!!!!!!!!!!!
 * Meeting Crowd: [As they were dismissed to take actions] YAY!
 * Squeaky-voiced Teen: It's time to put away my childish things... [in a deep voice] ...and become a man!

 * Homer's Commercial: For more information, visit our website, www.aljazeera.com, we're not affiliated, we're just piggy-backing on their message boards. [Attempts to hypnotize the audience with a moving photo of Rudy Giuliani] I am Rudy Giuliani, do as I command you! [Yes on 232 flashes quickly, but visibly] I am Rudy Giuliani, do as I command you!

 * Homer Simpson: Marge! Wait! [tries to hypnotize Marge with a moving photo of Rudy Giuliani] I am Rudy Giuliani, you must forgive Homer! I am Rudy Giuliani, you must forgive Homer!

Episode 9.I, (Annoyed Grunt)-Bot

 * Lisa: I'm keeping you! You're Snowball V, but to save money on a new dish, we'll just call you Snowball II and pretend this whole thing never happened.
 * Principal Skinner: That's really a cheat, isn't it?
 * Lisa: I guess you're right, Principal Tamzarian.
 * Principal Skinner: I'll just be moving along, Lisa. Snowball II.

 * Bart: I'm riding a unicycle with my pants down. This should be every boy's dream.

 * Homer Simpson: Hey, what gives? He's not killing me!
 * Professor Frink: Ah-I'll tell you what gives, I'm afraid he is subject to Issac Asimov's Laws of Robotics, with the Sci-Fi, and the so many Books, not too many Good, my Robot is programmed never to harm Humans, you see, only to serve them.

Episode 10.Diatribe of a Mad Housewife

 * Flanders: Did you agree to be married to a drunken lout who wouldn't respect you?
 * Marge: Pretty much. We wrote our own vows.

 * Lisa: This is horrible! What if Dad reads it ("The Harpooned Heart")?
 * Bart: It's too long; he won't read it.
 * Lisa: Well, what if it gets made into a movie?
 * Bart: It's too sappy; he won't see it.
 * Lisa: Well, what if they do a parody about it on MADtv?
 * Bart: [gasps] We're doomed!

 * Homer: I'll have to read Marge's book, and I swore never to read again after To Kill a Mockingbird gave me no useful advice on killing mockingbirds. It did teach me not to judge a man based on the color of his skin, but what good does that do me?

 * [Homer is working at Boris' Car Loft as a sales rep, he is in the sales office with a couple]
 * Homer: You probably want to talk this over, so I'll leave you two "alone" [laughs maniacally] Excuse me. [Homer joins the manager in the adjacent room to spy on them]
 * Man: Well honey, what do you think?
 * Woman: Did that salesman cut one during the test drive?
 * Man: Yeah, and for some reason, he turned on the radio to cover up the smell!
 * Woman: Let's get out of here. I'm not shaking that guy's hand! [they leave, the manager glares at Homer]
 * Homer: They'll be back. [looks nervously and turns on radio, the manager then grimaces at Homer]

Episode 11.Margical History Tour

 * Ned Flanders/Sir Thomas More: (to Homer/Henry VIII) Divorce! Well, there's no such thing in the Cath-diddly-atholic Church! But it's the only church we got, so what are you gonna do?
 * Homer/Henry VIII: I'll start my own church!
 * Ned Flanders/Sir Thomas More: Whaaaaaaaa!?
 * Homer/Henry VIII: Yes, my own church. Where divorce will be so easy, more than half of all marriages will end in it!
 * Ned Flanders/Sir Thomas More: Your Majesty, I work for the Pope, and I think a celibate Italian weirdo knows a lot more about marriage than you.

 * Homer/Henry VIII: (as aides are slicing his crown and other royal items in half) No fair! I invented divorce! How come you get half of everything?
 * Pasty-Faced Lawyer: You should have invented the pre-nup. Now, one half of your kingdom, please.
 * [Homer/Henry VIII holds up of map of the British Isles. He rips it in half and gives the left part to Marge/Margerine of Aragon]
 * Marge/Margerine of Aragon: [groans] I get Ireland?
 * Homer/Henry VIII: Ha ha!

 Animal House is a song by Homer:
 * All I know is the guy who played Mozart was also in Animal House. Now there's a movie with good music.
 * Animal House, House, House,
 * Nobody ever went to class.
 * Then we saw Donald Sutherland's ass.
 * Animal House, House, House,
 * Animal House, House, House,
 * Then the journey ends like American Graffiti,
 * Where you found out what happened to everyone...

 * William Clark/Carl: Alright, the Columbia River! Now we just ride this baby down to the Pacific and get some sweet mermaid sex!
 * Sacagawea/Lisa: For the last time, those are SALMON!

Episode 12.Milhouse Doesn't Live Here Anymore

 * Groundskeeper Willie: It won't last. Brothers and sisters are natural enemies! Like Englishmen and Scots! Or Welshmen and Scots! Or Japanese and Scots! Or Scots and other Scots! Damn Scots! They ruined Scotland!
 * Principal Skinner: You Scots sure are a contentious people.
 * Willie: You just made an enemy for life!

 * Billboard Homer sees while driving: Diamonds... because money equals love.

Episode 13.Smart and Smarter

 * [Bart heads into the bathroom, Homer comes out giggling.]
 * Homer: Wait 'til he puts his unsuspecting butt on that toilet seat. [He giggles again, while looking at "Squat-n-Squirt" box cover. A toilet flushing is heard.] Huh? Where the "ee-yow"?
 * Bart: [exits the bathroom] All yours, Homer.
 * Homer: But you didn't sit on the toilet.
 * Bart: I didn't have to-- I'm a dude.
 * Homer: [snatches Bart back to the bathroom, forces him to sit on toilet] Butt on bowl, little man!
 * Bart: [struggling to sit on toilet] Hey, my pants aren't down!
 * Homer: It doesn't matter!
 * ''[Bart gets through his legs and forces him on toilet, which it sprays water.]
 * Homer: Ee-yow! [sputters]
 * [Bart laughs at it.]
 * Homer: Why you little--! [strangles Bart] Joke's on me, isn't it?!
 * [Bart stucks the electric toothbrush up Homer's nose, makes him vibrate on inside. Then Homer grabs shower hose and sprays it in Bart's mouth. Then Bart grabs the toilet cleaning brush and brushes inside Homer's mouth, which makes him strangle him again. The shower hose flies with water still on hits things off.]
 * Marge: [offscreen] What's all that racket?!
 * Homer: [gasps] It's old lady Simpson! Run! [he and Bart runs out of the bathroom]
 * Lisa: [as she and Marge enters] What's going on?
 * Homer: Uh... I'll tell you what's going on. I'm taking you all out for pancakes!
 * [Marge, Bart and Lisa cheers]
 * Homer: Yeah!

 * Simon Cowell: Well look who's back.. Pippy Non-Talking.
 * Lisa: Just because Maggie can't talk doesn't mean she's dumb. Einstein didn't speak until he was three.
 * Marge: And even then he could only speak German!

 * Simon: Meet Maggie Simpson, IQ 167.
 * Philipa: 167? That's amazing for a Christian!
 * Lisa: [horrified] But, but my IQ is only 159! Maggie's more intelligent than me?
 * Simon: That's right, because 167 is a bigger number than 159. Do you see how that works?
 * Lisa: [annoyed] Yes, thank you.

 * [The family think they're about to die]
 * Bart: Mom, I've always loved you. Lisa, you were a worthy foe.

 * [Lisa comes to school dressed as a goth.]
 * Milhouse: What are you now, Lisa? An Oakland Raiders fan?
 * Lisa: It's called "Goth," eternally clueless one. My new name is "Raven Crow Neversmiles."
 * Milhouse: Cool. We could be Goth together. We'll got to the cemetery and summon the dark Lord by kissing and junk.
 * Lisa: Okay... but first you must apprentice, by kissing the Goddess Ironica. Who lives in this rock. Do it for an hour, hour and a half. [Lisa hands Milhouse a rock and leaves]
 * Milhouse: Yes, my mistress. [Milhouse kisses the rock]

 * Lisa: Lets try another one. A little harder.
 * [Lisa shows Maggie the word octogenarian. Maggie points at Grampa.]
 * Lisa: No, that's wrong.
 * [Maggie points at Santa's Little Helper.]
 * Lisa: [Sarcasticaly] That's right. This spells dog.
 * [Lisa gets caught in act]
 * Marge: [Angrily] Lisa ! You are purposefully teaching her the wrong words. Lisa, I'm surprised. Your sister just wants to learn and be like you. Well, maybe she needs a better role model.
 * [Homer makes phonic frog say, "I agree with your mother. You are a dissapointment to Huh, Oh, Muh, Eh, Er."]

 * [Lisa has ran away from home]
 * Marge: Lisa's gone, you have to find her!
 * Chief Wiggum: Why can't you just accept that Lisa is old enough to look after herself. Back off and let her live her life.
 * Marge: What!
 * Wiggum: Oh, I thought you said eighty. Well, we'll get right on it.

Episode 14.The Ziff Who Came to Dinner

 * Artie: Doesn't your father ever read to you?
 * Lisa: He tried once, but he got confused and thought the book was real. He's still searching for that chocolate factory. It consumes him.

 * Homer: Refuse to answer on the grounds that I what?!?
 * Lawyer: (whispers to Homer)
 * Homer: Inseminate myself? (to the Senate committee while pointing at his lawyer) Dudes, I think this guy's coming onto me.
 * Lawyer: You, sir, are a moron!
 * Homer: A mormon? But I'm from Earth!

 * Marge: My husband's going to jail and it's all your fault! Do you know why no one likes you?
 * Artie: Anti-semitism?
 * Marge: No. Your problem is you never think of anyone besides yourself!
 * Artie: Marge! I think about a lot more than just moi. [In his thought bubble, a can-can kickline of Artie Ziffs appears]
 * Artie Ziff can-can dancers: Artie, Artie, Artie, Artie! Artie, Artie, Artie! Artie, Artie...
 * [Then a whole audience of Artie Ziffs, clapping to the music appears as well]
 * Artie Ziff audience: Ziff, Ziff, Ziff, Ziff, Ziff!
 * Artie: Oh... My... God. She's right.

 * Lisa: [As Artie is going to prison] I have to admit. I'll miss having him around.
 * Homer: [Chuckles] I don't think we've seen the last of Artie Ziff.
 * [Snake walks up to Artie]
 * Snake: Yo, hobbit! I'm, like, your roommate. [Blows cigarette smoke in Artie's face]
 * Artie: Oh, smoker, eh? Well, I have ways of dealing with you. [Pulls out a spray bottle, dousing Snake's cigarette] Squirt, squirt, squirt! Your lungs will thank me!
 * Marge: Kids, you better take your last look at Uncle Artie.
 * [Artie notices more prisoners smoking]
 * Artie: Oh, look! There's a whole bunch of you! [He douses their cigarettes, too] Squirt, squirt, squirt! [The other inmates get up and start circling around him] That's it! Circle around me! Squirt, squirt, squirt, squirt! Squirt, squirt, squirt! Oh, I'm gonna need more water!

Episode 15.Co-Dependent's Day

 * Homer: Man, even i think movie popcorn has gotten too big. [Bart tries to take Homer's popcorn, but Homer slaps Bart in his hand]
 * Bart: Ow!
 * Homer: Get your own, mooch!

 * [Homer is on the phone with the rehab clinic]
 * Homer: I can't talk to my wife for 28 days? Sir, she is not an alcoholic. You can't put me on hold, I'll put you on hold. [singing] I am a lineman for the county. [speaking] Your call is important to us. Please continue to hold. [singing] And I drive the main road. [speaking] There are...eight... calls ahead of you. [singing] And the Wichita lineman is still on the li-li-li-li-li-li-li-li-li-li-li-li-line.

 * Kent: [to himself as he smokes a cigarette] Oh god, I love to smoke. [realizing the camera is on] We're live at the latest opening of the epic space saga "Cosmic Wars". And, the nerds emerge from their basements wearing strange costumes to shield their pasty skin from the moonlight.

Episode 16.The Wandering Juvie

 * Marge: (sobbing) My baby boy is in jail. I'm the worst mom in the world.
 * Homer: It's not all your fault. All of these years I've watched you turn our son into a time bomb and yet I did nothing. So...in a way, I too am a victim...of you.
 * (Marge continues sobbing)
 * Lisa: You're a great mom. You're always there for Bart with love and support. His acting out was caused by negative reinforcement! [They both glare at Homer]
 * Homer: Oh, I get it. Blame the strangler! Hmph! Hmph! Hmph!

 * Store Manager: Sir, some people want to use that dressing room!
 * Homer: [in the dressing room with his trousers down] Dressing room? Uh-oh...

 * Gina: [dancing chained to Bart] OK! Here's my rules. The inclusion is to no eye contact and I don't want to hear how pretty I look.
 * Bart: Don't worry, you won't. [Gina kicks him down] D'oh!

 Mayor Quimby arrives at Bart's fake wedding with a young woman.
 * Quimby: Remember, if anyone asks, you're my niece from out of town.
 * Young Woman: I am your niece, Uncle Joe.
 * Quimby: [realizing] Good Lord! I'm an abomination!

 * Warden: So, why do you want to be a guard here?
 * Homer: I believe the children are the future... Unless we stop them now!
 * Warden: Welcome aboard. (Holds a nightstick) This ends for beating. This ends for holding.
 * Homer: When does training start?
 * Warden: It just finished.

 * Warden: Well my shift's over. I guess it's back to my bachelor apartment. Make a tuna sandwich. Turn on Will & Grace. And cry myself to sleep.
 * Marge: Hmmmm. Would you like to join us?
 * Warden: Didn't you hear me? I've got my evening planned!(He slams the door shut)

Episode 17.My Big Fat Geek Wedding

 * Groundskeeper Willie: [after accidentally driving over a red ball] Oh my God, I've shredded a child! AGAIN! [races to a nearby road, heading for the border] Venezuela, here I come!

 * [at Moe's]
 * Skinner: Homer, this bachelor party seems to have peaked. Could you please return my pants and/or underpants so I can go home?
 * Homer: Come on, it's your last night of freedom. You gotta have some fun!
 * Skinner: Who are all of you people?
 * Carl: We're your buddies! Now come on, Homer's kid's principal, have a beer.
 * Skinner: I can't; I might be called upon to give directions later.
 * Superintendent Chalmers: SKINNER! You were asked to chug-a-lug, and a-lug you shall chug!
 * Skinner: [chugs beer] There's something I've wanted to say to you for a long time! Am I a good principal?
 * Chalmers: You're the best we could get with the funds at our disposal.
 * [everyone cheers]

 * Homer: Why are you dressed as Catwoman?
 * Skinner: (Dressed like Catwoman à la Batman Returns) They told me it was Catman!

 * Marge: Passion is for teens and immigrants.

Episode 18.Catch 'em If You Can

 * Moe: [emerging from "Adult Video section"] Oh yeah. Brideshead's gonna get revisited tonight, baby!

 * Bart Simpson: [Looking on an airline computer] So, Mom and Dad are going to Atlantic City [Types on the keyboard] but their luggage isn't. [laughs] And Homer's getting a low-fat meal.
 * [Camera cuts to a plane flying]
 * Homer: [From inside the plane]    Nooooooo!!!!

 * Squeaky Voiced Teen: Oh, I'm sorry, sir. The computer says that the movie Chocolate Star Wars doesn't exist.
 * Homer: I say you don't exist!
 * Squeaky Voiced Teen: No, I'm right here under "staff."

 [Homer and Marge bounce around in an inflatable house]
 * Homer: This must be what it's like to be in space!
 * Marge: You've been to space.
 * Homer: And yet, I have never been to me...

Episode 19.Simple Simpson

 * Host of Promiscuous Idiot's Island: Now, ladies, when you agreed to do this show, you were told you would be living with a millionaire on his private island. Well, I'm afraid we've misled you. (the women gasp)
 * Marge: (watching show) Get ready, skanks! Here comes the Truth Train!
 * Host: This isn't an island at all. It's a peninsula!
 * Woman 1: (walking away) This was supposed to be about trust!
 * Woman 2: (crying) I just want to get on that boat and go home!
 * Host: Well, you don't need a boat, because you can walk.
 * Bart: [Watching the show] What do those women expect? When you sign a contract with FOX, you know you're going to be betrayed and humiliated!
 * Homer: Quiet, the commercials are on! [Everyone looks at him] If we don't watch these, it's like we're stealing TV!

 * Homer: It's time to take him down a peg. Or should I say down a pie?
 * Lisa: No, I think the expression is peg.
 * Homer: Maybe you're right Lisa. Maybe you're pie. Pie be your pie.

 * Krusty: [Showing his place setting] Check it out! Dribble glass! Rubber knife! Whoopie salad! [stabs his fork into the salad, which makes a farting noise; chuckles] And finally, the break-away wine bottle! [hits the bottle hard on his head, but it doesn't break] ...did not arrive. [collapses with a groan onto table]

 * Homer: [Stabs a knife into the bullet wound on his arm] Let's see. Cartilage. Cartilage. Muscle. [Screams] NERVE! [Blood spurts out] Artery. Bullet! [Flicks the bullet out of his arm]

 ''[After Bart as Cupcake Kid holds a time watch in the deleted scene, making Nelson spin around inside the teacup ride, the kids are watching. Bart pulls the lever to stop, Nelson flies off on one of the spinning teacups. The ride slows down in a few seconds.]''
 * Bart: [holding a watch] A minute, and five seconds. That's a new record. Come on, let's go.

''[A loud crashing sound is heard. Bart runs to Nelson, who looks ill.]''
 * Bart: Oh, no. Nelson. Are you OK?
 * Nelson: No. I think I'm going to be sick.

 * Homer: [After revealing to Lisa that he's the Pie Man] Any-hoo, this has to be a surprise, eh? Mild-mannered Homer Simpson...
 * Lisa: You're not mild-mannered. You're often liquored up and rude.

Episode 20.The Way We Weren't

 * Homer: (talking to an empty beer bottle) You never got a chance to become my urine!

 * Lisa: (working as the judge in "Simpson Family Court") Now up, the case of Simpson v. Simpson.
 * Homer: Mr. Simpson, do you think it's appropriate for a ten-year old boy to steal a beer with intent to kiss?
 * Bart: Do you think it was appropriate to bet against your son's little-league team?
 * Homer: Wh-? Permission to treat this witness as hostile? (takes out a baseball bat)

 * Young Lenny: Now, Homer, if you're gonna go, you better take some protection. (gives him a switchblade)
 * Young Homer: Whoo, a switchblade! (eyes it closely) I see the switch, but where's the blade? (camera moves out of the cottage, we hear the blade opening) OOOOWW!! Found it.

 * Homer: This is so confusing. (turns to "judge" Lisa) I'd like a brief recess.
 * Lisa: Granted. (brings the gavel down)
 * Homer: Whee! Recess! (runs out and goes swinging on a swing)

 * Bart: Let me get this straight: when you were my age, you had the hots for mom and didn't even know it? Oh, that's cool! Or is that lame? I guess I'll go with lame. You're lame!
 * Homer: Why? Because I only kissed one girl in my whole life? That's still one more than you.
 * Bart: I've kissed three girls.
 * Homer: (cries) I'm so lame!

 * Camp Land-a-man instructor: Excellent. Girls, see how Marge's legs are slanted? You make Jackie O look like a splay-legged milkhorse. Now stand and walk.
 * (girl Marge walks in an uncomfortable, "proper" manner)
 * Instructor: Well done. I'd be proud if you grew up to be my husband's mistress.

 * Camp Flab-away instructor: So, you thought you could make a break for it, did you? Well, no one ever escapes from fat camp. 'Cause the only way out is up a gentle slope.

 * Homer: Marge, I'm really sorry I hurt you, but I've done way worse stuff since then. There was the gun I hid from you, the time I sued the church, ruining Lisa's wedding in the future, remember that?

 * Homer: (going through his "Memory Box") Whoo, a letter from my old pen pal! Someday I'll write you back, Osama.

Episode 21.Bart-Mangled Banner

 * Willie: I know what you're hiding, lad. Willie's been deaf since the boiler explosion of 88. But I've taught myself to read lips.
 * Guy: Morning, Willie!
 * Willie: What did you say about my mother!? For your information her feet stank cause she works in manure all day, but it's still the best damn Starbucks in Glasgow.

 * [Bart accidentally moons the U.S. flag]
 * Rich Texan: How dare he?! That's the flag my grandpappy rebelled against!

 * [Principal Skinner summons Homer and Marge into his office after Bart, accidentally, moons the U.S. flag]
 * Skinner: Your child's behavior appalls me, not just as a principal, but as a veteran of America's only losing war!
 * Homer: To date.
 * Marge: I swear, Bart didn't know what he was doing. He was deaf!
 * Skinner: Oh sure Marge, [shows Homer and Marge a file of photos] just like Blind Bart, Wheelchair Bart, Pregnant Bart, and my personal favorite, Railroad spike through head Bart.
 * Homer: Yeah, kids love trains.

 * Lisa: [As the Simpsons swim away from Alcatraz] Swim for San Francisco!
 * Homer: We're not made of money! We'll swim for Oakland!

 * French Sailor: [to the Simpsons] Mes amis, we hate American too! Come to France, and we shall mock the country that saved us twice from the Germans!

Episode 22.Fraudcast News

 * Kent: In tonight's face-off, I'll be debating Channel Six movie ghoulie Boobarella on the subject of our new boss C. Montgomery Burns. My view, he's a great leader and a gallant American.
 * Boobarella: He's got a heart as big as my boobs!
 * Kent: I guess we'll have to agree to agree on this one.
 * Boobarella: Booobs!

 * Mr. Burns: This is an outrage. Since when are public figures fair game for satire?
 * Smithers: Well your goons did run her off the road sir.
 * Mr. Burns: I can't be held responsible for what my goons were ordered to do.

 * Homer: These batteries have to power everything in our house. (inserts Spice Girls tape) YO, I tell you what I want what i really really want what I want what I want I'll tell you what I want! (Batteries die) That was totally worth it.

 * Homer: See Lisa, instead of one big-shot controlling all the media, now there's a thousand freaks xeroxing their worthless opinions.

title: The Simpsons/Season 15


text:
Madeleine L'Engle

Madeleine L'Engle Camp (November 29, 1918 – September 6, 2007) was an American writer of fiction, non-fiction, poetry, and young adult fiction, including the Newbery Medal-winning winning A Wrinkle in Time. An Episcopalian, her works for both adults and children are products of her strong Christian universalist faith and an intense interest in modern science.

Quotes

 * Inspiration usually comes during work, rather than before it.
 * The Summer of the Great-Grandmother (1974), p. 143

 * I endeavor To hold the I as one only for the cloud Of which I am a fragment, yet to which I'm vowed To be responsible. Its light against my face Reveals the witness of the stars, each in its place Singing, each compassed by the rest, The many joined to one, the mightiest to the least. It is so great a thing to be an infinitesimal part of this immeasurable orchestra the music bursts the heart, And from this tiny plosion all the fragments join: Joy orders the disunity until the song is one.
 * "Instruments" in The Weather of the Heart (1978)

 * All will be redeemed in God's fullness of time, all, not just the small portion of the population who have been given the grace to know and accept Christ. All the strayed and stolen sheep. All the little lost ones.
 * A Stone for a Pillow (1986), as quoted in If Grace Is True : Why God Will Save Every Person (2003) by Philip Gulley and James Mulholland, p. 223

 * We are all strangers in a strange land, longing for home, but not quite knowing what or where home is. We glimpse it sometimes in our dreams, or as we turn a corner, and suddenly there is a strange, sweet familiarity that vanishes almost as soon as it comes…
 * The Rock That is Higher: Story as Truth (1993)

 * Poetry, at least the kind I write, is written out of immediate need; it is written out of pain, joy, and experience too great to be borne until it is ordered into words. And then it is written to be shared.
 * The Ordering of Love: The New and Collected Poems of Madeleine L'Engle (2005)

A Wrinkle in Time (1962)

 * Speaking of ways, pet, by the way, there is such a thing as a tesseract.
 * Mrs Whatsit, Ch. 1

 * Just because we don't understand doesn't mean that the explanation doesn't exist.

 * Suddenly there was a great burst of light through the Darkness. The light spread out and where it touched the Darkness the Darkness disappeared. The light spread until the patch of Dark Thing had vanished, and there was only a gentle shining, and through the shining came the stars, clear and pure.

 * As the skipping rope hit the pavement, so did the ball. As the rope curved over the head of the jumping child, the child with the ball caught the ball. Down came the ropes. Down came the balls. Over and over again. Up. Down. All in rhythm. All identical. Like the houses. Like the paths. Like the flowers

 * You're given the form, but you have to write the sonnet yourself. What you say is completely up to you.

 * Alike and Equal are not the same.

 * Hate was nothing that IT didn't have. IT knew all about hate.

 * Suddenly she knew. She knew! Love. That was what she had that IT did not have. She had Mrs. Whatsit's love, and her father's, and mother's, and the real Charles Wallace's love, and the twins', and Aunt Beast's. And she had her love for them. But how could she use it? What was she meant to do?

The Expanding Universe (1963)

 * Newbery Award Acceptance Speech: The Expanding Universe (August 1963), republished in A Wrinkle in Time: 50th Anniversary Commemorative Edition.

So how do we do it? We can’t just sit down at our typewriters an turn out explosive material. I took a course in college on Chaucer, one of the most explosive, imaginative, and far-reaching in influence of all writers. And I’ll never forget going to the final exam and being asked why Chaucer used certain verbal devices, certain adjectives, why he had certain characters behave in certain ways. And I wrote in a white heat of fury, “I don’t think Chaucer had any idea why he did any of these thing. That isn’t the way people write.” '''I believe this as strongly now as I did then. Most of what is best in writing isn’t done deliberately.'''
 * Because of the very nature of the world as it is today our children receive in school a heavy load of scientific and analytic subjects, so it is in their reading for fun, for pleasure, that they must be guided into creativity. There are forces working in the world as never before in the history of mankind for standardization, for the regimentation of us all, or what I like to call making muffins of us, muffins all like every other muffin in the muffin tin. This is the limited universe, the drying, dissipating universe, that we can help our children avoid by providing them with “explosive material capable of stirring up fresh life endlessly.”

A writer of fantasy, fairly tale, or myth must inevitably discover that he is not writing out of his own knowledge or experience, but out of something both deeper and wider. '''I think that fantasy must possess the author and simply use him. I know that this is true of A Wrinkle in Time. I can’t possibly tell you how I came to write it. It was simply a book I had to write. I had no choice. And it was only after it was written that I realized what some of it meant.''' Very few children have any problem with the world of the imagination; it’s their own world, the world of their daily life, and it’s our loss that so many of us grow out of it.
 * I heard a famous author say once that the hardest part of writing a book was making yourself sit down at the typewriter. I know what he meant. Unless a writer works constantly to improve and refine the tools of his trade they will be useless instruments if and when the moment of inspiration, of revelation, does come. This is the moment when a writer is spoken through, the moment that a writer must accept with gratitude and humility, and then attempt, as best he can, to communicate to others.

In the beginning God created the heaven and the earth... The extraordinary, the marvelous thing about Genesis is not how unscientific it is, but how amazingly accurate it is. How could the ancient Israelites have known the exact order of an evolution that wasn’t to be formulated for thousands of years? Here is a truth that cuts across barriers of time and space.
 * What a child doesn’t realize until he is grown is that in responding to fantasy, fairly tale, and myth he is responding to what Erich Fromm calls the one universal language, the one and only language in the world that cuts across all barriers of time, place, race, and culture. Many … books are from this realm… books on Hindu myth, Chinese folklore, the life of Buddha, tales of American Indians, books that lead our children beyond all boundaries and into the one language of all mankind.

 * A book, too, can be a star, “explosive material, capable of stirring up fresh life endlessly,” a living fire to lighten the darkness, leading out into the expanding universe.

A Circle of Quiet (1972)

 * The concentration of a small child at play is analogous to the concentration of the artist of any discipline. In real play, which is real concentration, the child is not only outside time, he is outside himself. He has thrown himself completely into whatever it is he is doing. A child playing a game, building a sand castle, painting a picture, is completely in what he is doing. His self-consciousness is gone; his consciousness is wholly focused outside himself.
 * Section 1.3

 * When we are self-conscious, we cannot be wholly aware; we must throw ourselves out first. This throwing ourselves away is the act of creativity. So, when we wholly concentrate, like a child in play, or an artist at work, then we share in the act of creating. We not only escape time, we escape our self-conscious selves.
 * Section 1.3

 * The medieval mystics say the true image and the true real met once and for all on the cross: once and for all: and yet they still meet daily.
 * Section 1.5

 * My husband is my most ruthless critic. … Sometimes he will say, "It's been said better before." Of course. It's all been said better before. If I thought I had to say it better than anyone else, I'd never start. Better or worse is immaterial. The thing is that it has to be said; by me; ontologically. We each have to say it, to say it in our own way. Not of our own will, but as it comes through us. Good or bad, great or little: that isn't what human creation is about. It is that we have to try; to put it down in pigment, or words, or musical notations, or we die.
 * Section 1.9

 * Here we are living in a world of "identity crises," and most of us have no idea what an identity is. Half the problem is that an identity is something which must be understood intuitively, rather than in terms of provable fact. An infinite question is often destroyed by finite answers. To define everything is to annihilate much that gives us laughter and joy.
 * Section 1.10

 * We do have to use our minds as far as they will take us, yet acknowledging that they cannot take us all the way. We can give a child a self-image. But is this a good idea? Hitler did a devastating job at that kind of thing. So does Chairman Mao. … I haven't defined a self, nor do I want to. A self is not something static, tied up in a pretty parcel and handed to the child, finished and complete. A self is always becoming.
 * Section 1.10

 * I think that all artists, regardless of degree of talent, are a painful, paradoxical combination of certainty and uncertainty, of arrogance and humility, constantly in need of reassurance, and yet with a stubborn streak of faith in their own validity no matter what.
 * Section 1.14

 * The rational intellect doesn't have a great deal to do with love, and it doesn't have a great deal to do with art. I am often, in my writing, great leaps ahead of where I am in my thinking, and my thinking has to work its way slowly up to what the "superconscious" has already shown me in a story or poem.
 * Section 1.14

 * It is all, as usual, paradox. I have to use what intellect I have in order to write books, but I write the kind of books I do in order that I may try to set down glimpses of things that are on the other side of the intellect. We do not go around and discard the intellect, but we must go through and beyond it.
 * Section 1.16

 * How do we teach a child — our own, or those in a classroom — to have compassion: to allow people to be different; to understand that like is not equal; to experiment; to laugh; to love; to accept the fact that the most important questions a human being can ask do not have — or need — answers.
 * Section 1.16

 * Love can't be pinned down by a definition, and it certainly can't be proved, anymore than anything else important in life can be proved.
 * Section 1.16

 * When a child who has been conceived in love is born to a man and a woman, the joy of that birth sings throughout the universe. The joy of writing or painting is much the same, and the insemination comes not from the artist himself but from his relationship with those he loves, with the whole world. All real art is, in its true sense, religious; it is a religious impulse; there is not such thing as a non-religious subject.
 * Section 1.16

 * Detachment and involvement: the artist must have both. The link between them is compassion. It has taken me over fifty years to get a glimmer of what this means.
 * Section 1.16

 * We do live, all of us, on many different levels, and for most artists the world of imagination is more real than the world of the kitchen sink.
 * Section 2.2

 * It isn't always the middle-aged who refuse to listen, who will not even try to understand another point of view. One boy would not get it through his head that for all adults God is not an old man in a white beard sitting on a cloud. As far as this boy was concerned, this old gentleman was the adult's god, and therefore he did not believe in God.
 * Section 2.5

 * Nothing important is completely explicable.
 * Section 3.9

 * The uncommon man has done the impossible and there has been that much more light in the world because of it. Children respond to heroes by thinking creatively and sometimes in breaking beyond the bounds of the impossible in their turn, and so becoming heroes themselves.
 * Section 3.13

 * St. John said, "And the light shineth in the darkness; and the darkness comprehended it not." The light shines in the darkness and the darkness does not understand it, and cannot extinguish it ( I need the double meaning here of comprehend). This is the great cry of affirmation that is heard over and over again in our imaginative literature, in all art. It is a light to lighten our darkness, to guide us, and we do not need to know, in the realm of provable fact, exactly where it is going to take us.
 * Section 3.13

 * "Why do you write for children?" My immediate response to this question is, "I don't." ... If it's not good enough for adults, it's not good enough for children. If a book that is going to be marketed for children does not interest me, a grownup, then I am dishonoring the children for whom the book is intended, and I am dishonoring books. And words. Sometimes I answer that if I have something I want to say that is too difficult for adults to swallow, then I will write it in a book for children. This is usually good for a slightly startled laugh, but it's perfectly true. Children still haven't closed themselves off with fear of the unknown, fear of revolution, or the scramble for security. They are still familiar with the inborn vocabulary of myth. It was adults who thought that children would be afraid of the Dark Thing in Wrinkle, not children, who understand the need to see thingness, non-ness, and to fight it.
 * Section 4.4

 * A great piece of literature does not try to coerce you to believe it or agree with it. A great piece of literature simply is. It is a vehicle of truth, but it is not a blueprint, and we tend to confuse the two.
 * Section 4.5

 * What can we give a child when there is nothing left? All we have, I think, is the truth, the truth that will set him free, not limited, provable truth, but the open, growing, evolving truth that is not afraid.
 * Section 4.6

 * I wish that we worried more about asking the right questions instead of being so hung up on finding answers. I don't need to know the difference between a children's book and an adult one; it's the questions that have come from thinking about it that are important. I wish we'd stop finding answers for everything. One of the reasons my generation has mucked up the world to such an extent is our loss of the sense of the mysterious.
 * Section 4.8

 * I wrote, after an early rejection, "X turned down Wrinkle, turned it down with one hand while saying that he loved it, but didn't quite dare to do it, as it really isn't classifiable. I know it isn't really classifiable, and am wondering if i'll have to go through the usual hell with this that I seem to go through with everything I write. But this book I'm sure of. If I've ever written a book that says how I feel about God and the universe, this is it. This is my psalm of praise...
 * Section 4.10

 * All forms of art are consciousness expanders, and I am convinced that they will take us further, and more consciously, than drugs.
 * Section 4.14

 * Chronology, the time which changes things, makes them grow older, wears them out, and manages to dispose of them, chronologically, forever. Thank God there is kairos too: again the Greeks were wiser than we are. They had two words for time: chronos and kairos. Kairos is not measurable. Kairos is ontological. In kairos we are, we are fully in isness, not negatively, as Sartre saw the isness of the oak tree, but fully, wholly, positively. Kairos can sometimes enter, penetrate, break through chronos: the child at play, the painter at his easel, Serkin playing the Appassionata are in kairos. The saint in prayer, friends around the dinner table, the mother reaching out her arms for her newborn baby are in kairos. The bush, the burning bush, is in kairos, not any burning bush, but the particular burning bush before which Moses removed his shoes; the bush I pass by on my way to the brook. In kairos that part of us which is not consumed in the burning is wholly awake.
 * Section 4.21

 * Gregory of Nyssa points out that Moses's vision of God began with the light, with the visible burning bush, the bush which was bright with fire and was not consumed; but afterwards, God spoke to him in a cloud. After the glory which could be seen with human eyes, he began to see the glory which is beyond and after light. The shadows are deepening all around us. Now is the time when we must begin to see our world and ourselves in a different way.
 * Section 4.22

The Irrational Season (1977)

 * My protagonists, male and female, are me. And so I must be able to recall exactly what it was like to be five years old, and twelve, and sixteen, and twenty-two, and. . . . For, after all, I am not an isolated fifty-seven years old; I am every other age I have been, one, two, three, four, five, six, seven . . . all the way up to and occasionally beyond my present chronology.

 * We rebel against the impossible. I sense a wish in some professional religion-mongers to make God possible, to make him comprehensible to the naked intellect, domesticate him so that he's easy to believe in. Every century the Church makes a fresh attempt to make Christianity acceptable. But an acceptable Christianity is not Christian; a comprehensible God is no more than an idol.

 * If we commit ourselves to one person for life this is not, as many people think, a rejection of freedom; rather, it demands the courage to move into all the risks of freedom, and the risk of love which is permanent; into that love which is not possession but participation.

 * When a promise is broken, the promise still remains. In one way or another, we are all unfaithful to each other, and physical unfaithfulness is not the worst kind there is.

 * If our love for each other really is participatory, then all other human relationships nourish it; it is inclusive, never exclusive. If a friendship makes me love Hugh more, then I can trust that friendship. If it thrusts itself between us, then it should be cut out, and quickly.

 * No long-term marriage is made easily, and there have been times when I've been so angry or so hurt that I thought my love would never recover. And then, in the midst of near despair, something has happened beneath the surface. A bright little flashing fish of hope has flicked silver fins and the water is bright and suddenly I am returned to a state of love again — till next time. I've learned that there will always be a next time, and that I will submerge in darkness and misery, but that I won't stay submerged. And each time something has been learned under the waters; something has been gained; and a new kind of love has grown. The best I can ask for is that this love, which has been built on countless failures, will continue to grow. I can say no more than that this is mystery, and gift, and that somehow or other, through grace, our failures can be redeemed and blessed.

 * My young friend who was taught that she was so sinful the only way an angry God could be persuaded to forgive her was by Jesus dying for her, was also taught that part of the joy of the blessed in heaven is watching the torture of the damned in hell. A strange idea of joy. But it is a belief limited not only to the more rigid sects. I know a number of highly sensitive and intelligent people in my own communion who consider as a heresy my faith that God's loving concern for his creation will outlast all our willfulness and pride. No matter how many eons it takes, he will not rest until all of creation, including Satan, is reconciled to him, until there is no creature who cannot return his look of love with a joyful response of love... Origen held this belief and was ultimately pronounced a heretic. Gregory of Nyssa, affirming the same loving God, was made a saint. Some people feel it to be heresy because it appears to deny man his freedom to refuse to love God. But this, it seems to me, denies God his freedom to go on loving us beyond all our willfulness and pride. If the Word of God is the light of the world, and this light cannot be put out, ultimately it will brighten all the dark corners of our hearts and we will be able to see, and seeing, will be given the grace to respond with love — and of our own free will.

 * I cannot believe that God wants punishment to go on interminably any more than does a loving parent. The entire purpose of loving punishment is to teach, and it lasts only as long as is needed for the lesson. And the lesson is always love.

 * If our usual response to an annoying situation is a curse, we're likely to meet emergencies with a curse. In the little events of daily living we have the opportunity to condition our reflexes, which are built up out of ordinary things. And we learn to bless first of all by being blessed. My reflexes of blessing have been conditioned by my parents, my husband, my children, my friends

 * I am convinced that each work of art, be it a great work of genius or something very small, has its own life, and it will come to the artist, the composer or the writer or the painter, and say, "Here I am: compose me; or write me; or paint me"; and the job of the artist is to serve the work. I have never served a work as I would like to, but I do try, with each book, to serve to the best of my ability, and this attempt at serving is the greatest privilege and the greatest joy that I know.

 * One of our children when he was two or three years old used to rush at me when he had been naughty, and beat against me, and what he wanted by this monstrous behavior was an affirmation of love. And I would put my arms around him and hold him very tight until the dragon was gone and the loving small boy had returned.

 * One reason nearly half my books are for children is the glorious fact that the minds of children are still open to the living word; in the child, nightside and sunside are not yet separated; fantasy contains truths which cannot be stated in terms of proof.

Walking on Water (1980)

 * Walking on Water: Reflections on Faith and Art

 * It has often struck me with awe that some of the most deeply religious people I know have been, on the surface, atheists.

 * When we were children, we used to think that when we were grown-up we would no longer be vulnerable. But to grow up is to accept vulnerability... To be alive is to be vulnerable.

A Ring of Endless Light (1980)

 * Maybe you have to know darkness before you can appreciate the light.

The Rock that Is Higher (1993)

 * The truth of a story is what the novelist strives for, and quite often the writer is taken down strange and unexpected paths on this search.
 * Faith is for the part of the story that superficially isn’t believable.
 * We are not to retreat from life, pinning our hopes on ‘elsewhere.’ but to know that we will come to that final destination best by living full here and now, be it through joy, or pain, or a mix of both.
 * Life is full of questions, and we are free to ask them, to understand, occasionally, that we are not going to get an answer, or at least not the answer we expect, and then we are called to move on. But I believe that God encourages us to ask questions.

Acceptance Speech for the Margaret Edwards Award (1998)

 * Accepting the Margaret Edwards Award (American Library Association Lifetime Achievement Award for Writing In the Field Of Young Adult Literature (27 June 1998)

 * Truth is what is true, and it's not necessarily factual. Truth and fact are not the same thing. Truth does not contradict or deny facts, but it goes through and beyond facts. This is something that it is very difficult for some people to understand. Truth can be dangerous.

I think that this scene is upsetting because it calls us beyond fact into the vast world of imagination, and imagination is a word of many dimensions.
 * In Kenneth Grahame's beautiful book, The Wind In The Willows, Mole and Rat go to the holy island of the great god, Pan. It is a superb piece of religious writing, but because it has gone beyond fact, it is deeply upsetting and untruthful to some people. If a story is not specified as being Christian, it is not Christian. But that is not so.

What!?! It was a good while later that I realized that the word, imagination, is always a bad word in the King James translation of the Bible. I checked it out in my concordance, and it is always bad. Put them down in the imagination of their hearts. Their imagination is only to do evil. Language changes. What meant one thing three hundred years ago means something quite different now. So the people who are afraid of the word imagination are thinking about it as it was defined three centuries ago, and not as it is understood today, a wonderful word denoting creativity and wideness of vision. Another example of our changing language is the word, prevent. Take it apart into its Latin origin, and it is prevenire. Go before. So in the language of the King James translation if we read, "May God prevent us," we should understand the meaning to be, "God go before us," or "God lead us." And the verb, to let, used to mean, stop. Do not let me, meant do not stop me. And now it is completely reversed into a positive, permissive word.
 * A while ago there was an article in the New York Times about some women in Tennessee who wanted the middle grade text books removed from the school curriculum, not because they were inadequate educationally, but because these women were afraid that they might stimulate the childrens' imaginations.

 * Language is often changed by writers. We speak English today because Chaucer chose to write in the language of the common people, rather than the Latin or French used by those who were educated. James Joyce had an almost equally profound effect on language when he wrote about the inner self, rather than the outer self.

'''The changes are not going to stop. They are going to continue and accelerate. Like it or not.'''
 * I don't want to dump on TV, but there's no doubt that our language has been changed by television, especially by the media, which tries to manipulate us into being consumers. Most of the time nowadays we human beings are referred to as consumers. What does the consumer think? What does the consumer want? How ugly. Forest fires consume. Cancer consumes. I want us to be nourishers. To be a librarian, particularly a librarian for young adults, is to be a nourisher, to share stories, offer books full of new ideas. We live in a world which has changed radically in the last half century, and story helps us to understand and live creatively with change.

The screen went black as the program went off the air, and we heard the announcer say, "There will be a brief interlude of organ music." '''Certainly that mild quip of the elderly man wouldn't shock anybody today. We might laugh appreciatively at his wit, but that would be the extent of our reaction.''' The change in point of view has been equally radical in the world of books. Somehow or other I've never gotten around to reading Lady Chatterly's Lover, but I doubt if it would shock me.
 * One day back in the fifties my father and I were watching a program on our black and white TV which included an interview with an elderly man who answered one question by remarking, "Just because there's snow on the roof doesn't mean the fire's gone out in the furnace."

 * I've always believed that there is no subject that is taboo for the writer. It is how it is written that makes a book acceptable, as a work of art, or unacceptable and pornographic. There are many books circulating today, for the teen-ager as well as the grown up, which would not have been printed in the fifties. It is still amazing to me that A Wrinkle In Time was considered too difficult for children. My children were seven, ten, and twelve while I was writing it, and they understood it. The problem is not that it's too difficult for children, but that it's too difficult for grown ups. Much of the world view of Einstein's thinking wasn't being taught when the grown ups were in school, but the children were comfortably familiar with it.

Another assumption was that science and fantasy don't mix. Why not? We live in a fantastic universe, and subatomic particles and quantum mechanics are even more fantastic than the macrocosm. Often the only way to look clearly at this extraordinary universe is through fantasy, fairy tale, myth. During the fifties Erich Fromm published a book called The Forgotten Language, in which he said that the only universal language which breaks across barriers of race, culture, time, is the language of fairy tale, fantasy, myth, parable, and that is why the same stories have been around in one form or another for hundreds of years. Someone said, "It's all been done before." Yes, I agreed, but we all have to say it in our own voice.
 * Wrinkle, when it was finally published in 1962, after two years of rejections, broke several current taboos. The protagonist was female, and one of the unwritten rules of science fiction was that the protagonist should be male. I'm a female. Why would I give all the best ideas to a male?

Penguins and Golden Calves (2003)

 * Penguins and Golden Calves : Icons and Idols in Antarctica and Other Unexpected Places

 * I wrote because I wanted to know what everything was about. My father, before I was born, had been gassed in the first World War, and I wanted to know why there were wars, why people hurt each other, why we couldn't get along together, and what made people tick. That's why I started to write stories.

 * There's more to life than just the things that can be explained by encyclopedias and facts. Facts alone are not adequate.

 * I really enjoy good murder mystery writers, usually women, frequently English, because they have a sense of what the human soul is about and why people do dark and terrible things. I also read quite a lot in the area of particle physics and quantum mechanics, because this is theology. This is about the nature of being. This is what life is all about. I try to read as widely as I possibly can.

 * I wrote A Wrinkle in Time when we were living in a small dairy farm village in New England. I had three small children to raise, and life was not easy. We lost four of our closest friends within two years by death — that's a lot of death statistically. And I really wasn't finding the answers to my big questions in the logical places. So, at the time I discovered the world of particle physics. I discovered Einstein and relativity. I read a book of Einstein's, in which he said that anyone who's not lost in rapturous awe at the power and glory of the mind behind the universe is as good as a burnt-out candle. And I thought, "Oh, I've found my theologian, what a wonderful thing."

 * A Wrinkle in Time was almost never published. You can't name a major publisher who didn't reject it. And there were many reasons. One was that it was supposedly too hard for children. Well, my children were 7, 10, and 12 while I was writing it. I'd read to them at night what I'd written during the day, and they'd say, "Ooh, mother, go back to the typewriter!" A Wrinkle in Time had a female protagonist in a science fiction book, and that wasn't done. And it dealt with evil and things that you don't find, or didn't at that time, in children's books. When we'd run through forty-odd publishers, my agent sent it back. We gave up. Then my mother was visiting for Christmas, and I gave her a tea party for some of her old friends. One of them happened to belong to a small writing group run by John Farrar, of Farrar, Straus & Giroux, which at that time did not have a juvenile list. She insisted that I meet John any how, and I went down with my battered manuscript. John had read my first novel and liked it, and read this book and loved it. That's how it happened.

 * Kids don't hesitate to ask questions. And it's a great honor to have the kids say, "Your books have made me trust you."

 * I have advice for people who want to write. I don't care whether they're 5 or 500. There are three things that are important: First, if you want to write, you need to keep an honest, unpublishable journal that nobody reads, nobody but you. Where you just put down what you think about life, what you think about things, what you think is fair and what you think is unfair. And second, you need to read. You can't be a writer if you're not a reader. It's the great writers who teach us how to write. The third thing is to write. Just write a little bit every day. Even if it's for only half an hour — write, write, write.

Newsweek interview (2004)

 * "'I Dare You' : Madeleine L’Engle on God, The Da Vinci Code and aging well", an interview with Melinda Henneberger, Newsweek (7 May 2004)

 * I sometimes think God is a s--t — and he wouldn't be worth it otherwise. He's much more interesting when he's a s--t.

 * It takes a lot of intellect to have faith, which is why so many people only have religiosity.... I'm against people taking the Bible absolutely literally, rather than letting some of it be real fantasy, like Jonah... Faith is best expressed in story.

 * Henneberger: If the Bible is not literally true, does that mean we don’t need to take it seriously? L'Engle: Oh no, you do, because it’s truth, not fact, and you have to take truth seriously even when it expands beyond the facts.

Quotes about L'Engle
Lee will write the bigscreen adaptation of Madeleine L’Engle’s book for Disney in which children travel through time and visit strange worlds in order to find their missing scientist father. Published in 1962, “Wrinkle in Time” was one of Lee’s favorite novels as a child, and she impressed Disney executives with her take on the project, which emphasizes a strong female-driven narrative and creatively approaches the science fiction and world-building elements of the book.
 * Jennifer Lee, who wrote, and co-directed Frozen with Chris Buck, has chosen her next project: A Wrinkle in Time.
 * "Frozen Director Jennifer Lee to Adapt A Wrinkle in Time for Disney" in Variety (5 August 2014)

title: Madeleine L'Engle


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