text:
Cellular (film)

Cellular is a 2004 suspense thriller about a high-school biology teacher who is taken from her home by five assailants to an unknown location and a young man who she calls as she puts together a broken telephone. The film follows him in his attempts to save her and her family, making sure that the connection is not broken.
 * Directed by David R. Ellis. Written by Larry Cohen and Chris Morgan.

If the signal dies so does she.

Ryan

 * [after shooting the number taker in the store] Now who's gonna give me that goddamn charger?

 * "Ricky Martin"? You named your kid "Ricky Martin"?

 * [after stealing the lawyer's car] Oh, I am in deep trouble!

 * [after he views the tape] I'm a dead man.

Chad

 * [greeting girls at the pier] Hey Chloe. Sam. Friend with nipples.

 * [seeing Ryan with a box of fliers to pass out] Ha ha - that sucks. [Ryan shoves the box at him] No way! This sucks more!

Bob Mooney

 * [As he shoots someone for the first time in his entire career] 27 years. 27 years without this shit!

 * [Talking to the fake Jessica Martin] We had a report of a possible kidnapping. You haven't been kidnapped today, have you? [Chuckles]
 * [to shocked bystanders after beating up Dimitri] It's alright I'm a cop! That's a very bad man!

WLSUU2 Lawyer

 * [trying to get his car out of the impound lot] Okay, fine... I'm getting out my checkbook. Who do I make it out to? "Lady Who Sucks?"

 * [Talking on his cell phone] I'm tellin' ya, I'm sitting in it right now. It's a brand new Porsche Carrera. The partners gave it to me. Mm-Hm, sugar. Brand new, arctic blue convertible. It goes zero to 60 in 5.2 seconds. Takes the girls' panties down in 3.5 seconds. [Phone line gets suddenly disrupted by Jessica and Ryan] Hey, this is a private call. Get off my line! Mom, are you still there?

Jessica Martin

 * [after slashing a kidnapper's arm with a shard of glass] Tenth grade biology. Brachial artery... pumps 30 liters of blood a minute. There's only five in the human body. I'm sorry.
 * YOU'VE GOT THE WRONG FAMILY!!!

Dialogue

 * Ricky Martin: Mom, will you still be a science teacher when I get into high school?
 * Jessica Martin: Hmm... You never know. Why?
 * Ricky Martin: 'Cause I think it'd be kind of weird to have your mom as a teacher.

 * Ryan: It's Chloe!
 * Chad: No, dude, don't do this! Don't do this!
 * Ryan: I'm just gonna say "hi."
 * Chad: You're not gonna say "hi."
 * Ryan: No "hi"?
 * Chad: No "hi."
 * Ryan: I can't say...
 * Chad: [shouts] Come on, man! Hold it together! This girl, she dumped you, all right? Have some self-respect, have some dignity!
 * Ryan: You're right.
 * Chad: Be strong.
 * Ryan: You're right.
 * Chad: Yeah.
 * Ryan: Thank you.
 * Chad: All right.
 * [he gets distracted by girls in bikinis]
 * Chad: Oh! What's goin' on, ladies?
 * [Ryan leaves to go talk to Chloe]

 * [talking to Ryan on a payphone]
 * Chad: Dude, I have no idea what just happened. One minute I'm talking to nipples, next thing you know, I'm wearing a whale costume handing out flyers.
 * Ryan: [laughs] That sucks. Sounds like she got you.
 * Chad: I mean, I'm not saying it doesn't have its benefits.
 * [two girls that pass him by]
 * Chad: Hey, you guys know that a blue whale's got an 11-foot penis? Heal the Bay.

 * Jessica Martin: When I didn't show up for work today someone called the police, I'm sure.
 * Greer: You better hope they didn't.

 * Ryan escaped a car crash.

 * Jessica: Are you okay?

 * Ryan: We're okay. We're alive. We're breathing.

 * WLSUU2 Lawyer: [after Ryan swerves his car in front of him] What the hell is your problem, man? What the hell is your problem? You want to tussle?
 * Ryan: [pulls out his gun] Give me your phone!
 * WLSUU2 Lawyer: Oh snaps.

 * Ryan: Look, give me your phone or I shoot your car.
 * WLSUU2 Lawyer: Oh, hell no, hell no. Why would you want to do something awful like that?

 * [Ryan accidentally dials an artist on a payphone at Santa Monica Pier trying to reach Jessica's kidnappers]
 * Ryan: I got what you're looking for.
 * Vietnamese Artist: Oh?
 * Ryan: Yeah.
 * Vietnamese Artist: Okay, and what I do for it?
 * Ryan: What?
 * Vietnamese Artist: What I do for what I looking for? You tell me now.
 * Ryan: Wait, who's this? What number did I call?
 * Vietnamese Artist: You call me on the payphone. You waste my time. I have pictures to draw.
 * Ryan: Whoa, whoa, whoa, dude. Chill out.
 * Vietnamese Artist: No, you don't tell me what to chill. My mother tell me to chill. I sit here, I draw people telling me to chill out all the time. You don't tell me what to chill. I chill you.

 * Ethan: [learning that Jessica had escaped after she killed Mad Dog] Get outside now!

 * Ryan: [Ryan and Ethan are discussing a place to meet] Santa Monica Pier.
 * Ethan: No, too busy.
 * Ryan: Yeah, that's kind of the idea, dickhead.

 * Ryan: It doesn't make any sense, I give you the video, then you turn around and take us out.
 * Greer: I swore I wouldn't do that.
 * Ryan: Just like you swore "to protect and serve"?

 * Ethan: [on walkie talkie] We found him yet?
 * Dmitri: No, I don't see him.
 * Ethan: He's the one on the cell phone, you idiot.
 * [looks through his binoculars and sees various people on cell phones]
 * Dmitri: Everybody's on a cell phone.

 * Jack Tanner: I think all the chemicals from that beauty salon have gotten to your head.
 * Mooney: It's a day spa, you Jack.
 * [Mooney hesitates a bit, then shows Tanner Ryan's Cell Phone, front facing Tanner's face]

 * [Greer has Ryan pinned down and is about to shoot him]
 * Mooney: Let him up.
 * [Greer looks up and sees Mooney pointing a gun at him]
 * Ryan: Help me. They're dirty cops!
 * Greer: He attacked my partner. He tried to kill me.
 * Mooney: I said, "Let him up."
 * Greer: You're going to believe this lying piece of shot over a cop?
 * Mooney: It doesn't matter what I believe. What's important is that you believe I will put a bullet in your skull if you don't let him up.

 * Jessica Martin: I don't know if there's anything I could ever do to thank you.
 * Ryan: I do. Don't ever call me again.

title: Cellular (film)


text:
Gabriel Batistuta

Gabriel Omar Batistuta (born 1 February 1969) is an Argentine former professional footballer. During his playing career, Batistuta was nicknamed Batigol as well as El Ángel Gabriel. Regarded as one of the greatest strikers of all time, noted in particular for powerful strikes from volleys or from distance while on the run, in 1999, Batistuta placed third for the FIFA World Player of the Year award.

Quotes

 * I've always given everything for every team I've played for so that the ordinary fans, the people in the stadium, could identify with me. I owe a lot to the fans of Roma, Fiorentina and Argentina. They were the reason I played, my inspiration. I always worked hard to improve my game, to prove to myself that I could be one of the best for as long as possible. To be honest, I couldn’t care less what the others think.

 * When I was playing football I never enjoyed it that much, I was never happy … if I scored two goals, I wanted a third, I always wanted more. Now it’s all over I can look back with satisfaction, but I never felt that way when I was playing.

About Gabriel Batistuta

 * [..] I was watching him in training for the first couple of days and he was one of the worst trainers I'd ever seen [...] His technique was lousy, his shots were going wide – but then he scored ten goals in the first five or six games and I realised what a player he was. (Brian Laudrup, his ex-Fiorentina teammate, 2006).
 * Where are they now? Brian Laudrup, FIFA, February 3, 2006.

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

title: Gabriel Batistuta


text:
Love Hina

Love Hina is a manga and anime series created by Ken Akamatsu.

Kaolla Su (カオラ スウ, Kaora Sū)

 * [Motoko blasts Keitarō skyward.] Keitarō, did the Earth look blue from up there?
 * Hi-ho, Silver! Jitterbug! Rhumba!
 * Tee-hee! I'm impressed with the magic from the ruins of Todai! I never thought you'd make a "sewage disposal!" [Meaning to say "marriage proposal."]
 * [As Keitarō and the others discuss getting into Tokyo U] What's a tokyou? Can you eat it?

Keitarō Urashima (浦島　景太郎, Urashima Keitarō)

 * It had three holes, and I really wanted one!
 * [After Su kidnaps Naru in Molmol] Goddammit, Su, we were getting along so fine! This is not a sci-fi manga!!
 * [When Keitarō returns to Hinata House from the hospital, he thinks everyone will receive him warmly there, but in fact only Tama-chan greets him] Oh boy... I spent three weeks away... You're the only one nice to me here, Tama-chan...
 * [After Naru punches Keitarō, his pants rip and she offers to fix it] Oohhh! A sewing kit! So you can do something feminine for a change!
 * [After using one of Motoko's sword techniques against her] "You use that attack so often on me, I sorta claimed it as my own. (Think of it like Blue Magic from the Fina Fantasy series)"
 *  [Laying down in the sand, without his glasses, after seeing Mutsumi and Naru playing in the water] Where are we? Oh, I know... this must be heaven! And the angels have come to take me to the peraly gates! Angels with swimsuits... SWIMSUITS!?

Kimiaki Shirai

 * I see. So basically, while indecisively hesitating to confess your love to Naru, whom you've secretly had a crush on, the man that Naru admires returns. Thus, not only did you miss your chance to confess, but the two of you are becoming more distant and you're wetting your pillow with tears. Is that the situation?

Mitsune "Kitsune" Konno (紺野　みつね, Konno Mitsune)

 * [Keitarō breaks one of his legs.] So you were human after all!
 * [Kaolla is dreaming of Lamba and grabs Keitarō, who shouts very loud in agony.] I told you, it gets worse by night....
 * [about Motoko flunking her entrance exam] Keitaro's gonna get a good laugh when he hears this samurai turned into a ronin...(Ronin refers both to an unemployed Samurai and a Student who flunks his/her Entrance Exam)
 * [enters Keitarō's room and finds Keitarō, Su and Naru lying in a heap on the futon] Ooh, Keitaro, you stud!!
 * [after Keitarō rejects her idea of her, dressed in Naru's school uniform, staying with him] Why the hell does every guy around me prefer Naru? This is getting so deep into my nerves...
 * [Keitarō and Naru are looking for the then-unnamed Tama-chan; Kitsune, drunk, peeks into Keitarō's pants] Isn't the turtle in here?

Motoko Aoyama (青山　素子, Aoyama Motoko)

 * Secret Arts: Air Splitting Sword.
 * Secret Arts: Rock Splitting Sword.
 * Ever since that elusive, definitely audacious, insolent, high-roller of a turtle showed up here at Hinata Apartments, I haven't had a good night's sleep.
 * Damn you. You're nothing but a lowly Reptilia Anapsida Testudinata.
 * C-c-cute? You have the gall to refer to me as CUTE?
 * [after Keitarō defeats her on his way to rescue Naru]] Stop apologizing so much... Idiot...

Naru Narusegawa (成瀬川　なる, Narusegawa Naru)

 * [Naru is climbing up a moving dirigible, trying to get Keitarō back.] I won't fall... I won't fall.... At least not while I don't punch him in the face....
 * [Naru is sewing Keitarō's pants.] I can't believe your goofiness... When will you stop relying so much on me?
 * [on the delay of Keitarō and Seta's plane to the USA] Thank God... I'll enjoy to the fullest these three hours He's given us... I'll say what I couldn't say and do what I couldn't do.

Noriyasu Seta (瀬田　紀康, Seta Noriyasu)

 * [Haruka is wearing a wedding dress.] Why are you dressed like that? Are you cosplaying?

Shinobu Maehara (前原　しのぶ, Maehara Shinobu)

 * It doesn't matter. I could walk forever and I'd still end up in the same place. I know where I want to go, but I have no idea how I'm going to get there. So I just keep walking.
 * Sempai!
 * Doesn't matter to me what you do with that floozy. (An' I want boobies!)

Dialogue

 * Kaolla: So, what are we gonna do with him?
 * Naru: Crucify and torture him, cut out his tongue, and send him to Hell!
 * Keitarō: NOOOOOOOO!

 [Kitsune places Keitarō hand on her breast.]
 * Kitsune: That's worth a month's rent.
 * Keitarō: Huh?
 * Kitsune: What, weren't you listening? You cop one feel, I get one month's rent free.
 * Keitarō: What're you talking about?

[Naru barges in.]
 * Naru: What do you think you're doing, you sleaze?
 * Kitsune: [Fake sobbing] H-he started grabbing my breasts, going, "You like it here? How about here?"
 * Keitarō: It's the other way around!

 * Kaolla: Hey, Keitarō, here for a midnight fling? If it's you, I don't mind.
 * Keitarō: W-What are you saying?
 * Kaolla: By the way, do flings taste good?

 [Kitsune "accidentally" dumps water on Naru's cheerleading uniform.]
 * Naru: W-what the heck are you doing, Kitsune?
 * Kitsune: Sorry! I'm really sorry! My hand slipped!
 * Naru: I have to be at work in a few minutes! What am I gonna do now?
 * Kitsune: I feel so bad! I'll earn your share of the money, so please forgive me!
 * Naru: You will?
 * Kitsune: Cross my heart. Trust me, just look into these eyes.

 * Haruka: It's a shame you don't have a boyfriend yet.
 * Motoko: W-what are you saying? You're my role model, Miss Haruka.
 * Haruka: Role model?
 * Motoko: You've avoided tawdry romances, relying on no man, and are living your life on your own terms.
 * Haruka: I wouldn't put it in such glowing terms. It's just that living at Hinata Apartments lets me get away with not thinking about things that aren't too pleasant to dwell on.

 [Mutsumi gets a perfect score on her practice exam.]
 * Naru: Wow!
 * Keitarō: You got a perfect score!
 * Naru: You're actually a total genius!
 * Keitarō: H-how could you fail the entrance exam three times with these scores?
 * Mutsumi: Well, I'm guessing it's because I'm a klutz and I'm frail, and I'd keep forgetting to write down my name, or I'd faint before reaching the exam hall and be hospitalized.

 [Su becomes an adult (again), and thinks Keitarō's her brother (again).]
 * Kaolla: Come, Brother. Come with me.
 * Keitarō: W-what's happened to you, Su? You're all grown up again! [Su leans over to kiss Keitarō.] Uh, but the adult Su has that exotic, ethnic charm going.

 * Mutsumi: This way, I can take a good, long look at your face. When I look at your face, Keitarō, I feel so tranquil, like I know you from a long, long, time ago. That's what made me want to study with you for our entrance exams. Am I causing trouble for you?
 * Keitarō: N-no.
 * Mutsumi: I want to go to Tokyo U, together with you.

 [Naru had just punched Keitarō because she walked in on him.]
 * Naru: Hee hee... I'm sorry, I gotta recognize that these things happen. Okay, it's usually the other way around....
 * Keitarō: So... why do I have to be smacked for that?
 * Naru: It's just that... it has already became involuntary....

 [After the giboshi of Nippon Budokan falls on Keitarō, Mutsumi thinks he's dead when he rises from underneath it.]
 * Keitarō: Ouch... I thought I was gonna die.
 * Mutsumi: You really don't die easy, eh, Keitarō...?

 [Seta, Haruka, Naru, and Keitarō are hiding from Molmol aircrafts that are chasing Seta.]
 * Noriyasu: Hmmm, how thrilling. That reminds me of our past perils....
 * Haruka: I'd rather not to remember it.
 * Keitarō: Have you ever been through stuff like these before?
 * Noriyasu: [Laughs] Lots of times!

 * Keitarō: I want you to come with me, Narusegawa. I don't care if we're going to Todai or Tokyo U... But when we do... I just wanna be with you.
 * Naru: K... Keitarō... are... are you... proposing me... on... on marriage....?
 * Keitarō: Yeah....

[Naru chuckles, then starts laughing out loud.]
 * Keitarō: What are you laughing about?
 * Naru: You got so serious all of a sudden, I didn't expect for that!

 * Haruka: You're just like Seta. You know nothing about women's feelings. Naru's not like me, you know; if you want to keep your relationship alive, you gotta do "that."
 * Keitarō: [Surprised] What? Do "that?" You mean "that?"
 * Sara: What's "that?"
 * Haruka: [Slaps Keitarō in the face] Don't say it so loud! When I say "that," I do mean "that." You're an adult, you know what it's all about!
 * Sara: What's "that?!"
 * Keitarō: Oh, yeah! Sure, it's "that!" We're grown-ups after all-- [Sara starts choking him, demanding to know what "that" is.]

 * Keitarō: When Aunt Haruka told me do do "that," I thought she said I should talk to you neatly....
 * Naru: Uh, I don't think that's what she meant.
 * Keitarō: Well, actually, I found it a bit odd, too.... Anyway, what really is "that?"
 * Naru: Eh... "that"... is "that."
 * Keitarō: Gaaah! I don't get it! Please be clearer!
 * Naru: [Starts walking away and blushes.] You idiot! Don't you go and put me to shame! You creep!

 [Kaolla receives an e-mail from Keitarō in her palmtop]
 * Kaolla: Oh, darn! The encoding bugged, and now there's a lotta script errors!
 * Motoko: Hmph! That techno-retard!
 * Sara: C'mon, you can't even dial on a cell phone!

 * Kitsune: Now, now, tell me what afflicts your poor little self... You got a friend here...
 * Keitarō: Ehh... It's-it's nothing... It's really nothing...
 * Kitsune: It's Naru, right?

[face fault showing Keitarō with a knife stuck in his head]

 [Keitarō tells Motoko how Tsuruko saved him from being overran]
 * Tsuruko: [giggling] I didn't know that cars in Tokyo used to attack people...
 * Keitarō: [embarrassed] They don't really use to...
 * Kitsune: Damn, you still are the King of the Unlucky, eh, Keitarō?
 * Kaolla: [laughing] You're a bad luck magnet!
 * Keitarō: Hey, stop that!

 [Naru hits Keitaro into the air after he saw her breasts (again).]
 * Naru: Haven't you seen my breasts enough!?
 * Keitarō: [while flying away] Is that a trick question!?

 [Kitsune is wearing Naru's high school uniform, trying to cheer Keitarō up]
 * Kitsune: If it doesn't work with her, what about me dressed like her?
 * Keitarō: What's with that stupid way of thinking?!
 * Kitsune: C'mon, don't you wanna take a sniff from Naru's uniform?
 * Keitarō: Narusegawa would never do that!!!

 [the girls are thinking of a way to soften Kanako's treatment of them]
 * Mutsumi: I wonder what Keitarō had written in his letter... There might be something helpful there, who knows?
 * Kitsune: Letter from Keitarō?...
 * Naru: Letter? What letter?
 * Mutsumi: Don't you remember? I handed it to you a few chapters ago.
 * Naru: But you said it was a letter for Keitarō!!
 * Mutsumi: Gee, did I err? That was a letter from Keitarō!

title: Love Hina


text:
My Fair Lady

My Fair Lady is a 1956 Broadway musical starring Julie Andrews as Eliza Doolittle and Rex Harrison as Professor Henry Higgins. In 1964, it was adapted to film, with Harrison reprising his role as Higgins and Audrey Hepburn as Eliza. The musical was based on Bernard Shaw's play, Pygmalion. It's a sort of Cinderella story, with two life-long bachelors (Professor Higgins and his friend Colonel Pickering) making a bet that Professor Higgins can't teach Eliza to pass as an upper class lady.

Songs

 * I could have danced all night, I could have danced all night, and still have begged for more. I could have spread my wings and done a thousand things I've never done before.
 * Eliza Doolittle, "I Could Have Danced All Night"

 * Women are irrational, that's all there is to that! Their heads are full of cotton, hay, and rags! They're nothing but exasperating, irritating, vacillating, calculating, agitating, maddening and infuriating hags!
 * Professor Henry Higgins, "A Hymn to Him"

 * Damn, damn, damn, DAMN! ... I've grown accustomed to her face!
 * Professor Henry Higgins, "I've Grown Accustomed to Her Face"

 * Her smiles, her frowns, her ups, her downs are second nature to me now, like breathing out and breathing in.
 * Professor Henry Higgins, "I've Grown Accustomed to Her Face"

 * Poor Eliza! How simply frightful! How humiliating! How delightful!
 * Professor Henry Higgins, "I've Grown Accustomed to Her Face"

 * There even are places where English completely disappears! In America, they haven't used it for years!
 * Professor Henry Higgins, "Why Can't the English?"

 * I have often walked down this street before; But the pavement always stayed beneath my feet before. All at once am I Several stories high, Knowing I'm on the street where you live.
 * Freddy Einsford-Hill, "On the Street Where You Live"

 * Art and music will thrive without you. Somehow Keats will survive without you. And there still will be rain on that plain down in Spain, even that will remain without you. I can do without you!
 * Eliza Doolittle, "Without You"

 * All I want is a room somewhere, Far away from the cold night air. With one enormous chair, Aow, wouldn't it be loverly?
 * Eliza Doolittle, "Wouldn't it be Loverly?"

Eliza Doolittle
(times in parentheses from Warner Brother's 1964 film)

 * Them 'as pinched it, done her in! (1:29:17)

 * Them she lived with would have done her in for a hatpin let alone a hat.

 * Not her, gin was mother's milk to her.

 * Here, what are you sniggering at? (1:30:08)

 * Come on, Dover! Move yer bloomin' arse! (1:31:18)

 * to sell flowers if I keep off the kerb. I'm a respectable girl: so help me, I never spoke to him 'cept so far as to buy a flower off me.

 * The difference between a lady and a flower girl is not how she behaves, but how she is treated.

 * I sold flowers; I didn't sell myself. Now you've made a lady of me, I'm not fit to sell anything else.

 * You dear friend who talks so well, you can go to Hertford, Hereford and Hampshire!

 * All I want is 'Enry 'Iggins' 'ead.

Professor Henry Higgins

 * She's so deliciously low, so horribly dirty!

 * Eliza, you are to stay here for the next six months learning to speak beautifully, like a lady in a florist's shop. At the end of six months you will be taken to an embassy ball in a carriage, beautifully dressed. If the king finds out you are not a lady, you will be taken to the Tower of London, where your head will be cut off as a warning to other presumptuous flower girls! If you are not found out, you shall be given a present of... uh... seven and six to start life within a lady's shop. If you refuse this offer, you will be the most ungrateful, wicked girl, and the angels will weep for you.

 * I find the moment that a woman makes friends with me, she becomes jealous, exacting, suspicious and a damned nuisance. And I find the moment that I make friends with a woman, I become selfish and tyrannical. So here I am – a confirmed old bachelor, and likely to remain so.

 * It's about filling up the deepest cut that separates class from class and soul from soul.

 * Damn Mrs Pearce, damn the coffee, and damn you! And damn my own folly for having lavished my hard-earned knowledge, and the treasure of my regard and intimacy, on a heartless guttersnipe!

 * If the Higgins oxygen burns up her little lungs, let her seek some stuffiness that suits her! She's an owl sickened by a few days of my sunshine! Very well, let her go - I can do without her. I can do without anyone! I have my own soul, my own spark of divine fire!

 * Eliza? Where the devil are my slippers?

Dialogue

 * Col. Pickering: Have you no morals, man?
 * Alfred P. Doolittle: Nah, can't afford 'em. Neither could you, if you were as poor as me.

 * Higgins's mother: Why Henry, you're not even dressed properly!
 * Prof. Higgins: Oh, I changed my shirt.

title: My Fair Lady


text:
Elfen Lied

Elfen Lied is a manga and anime series written by Lynn Okamoto.

Bandō (坂東)

 * Everyday, all this training, what is it add up to, huh? Killing people, right?
 * I pull the trigger, the gun goes off, and your brains splatter all over the sand. The beach gets bloody and you get dead.
 * What does the fate of mankind have to do with the fate of my balls?!
 * I better get going while my sack clearance is still valid!
 * Call me if anyone gives ya trouble... I'll fuckin kill em for you.

Kurama (蔵間)

 * People who think that they can make up their past follies with regret cannot be forgiven.
 * Warmth, love, and affection. These are the things I have taken away from you.
 * Nana, at least you should be happy.

Lucy Rūshī)
 * When you're miserable, you need to make someone even more miserable than yourself.
 * The ones who aren't human... the ones who aren't people... are actually YOU!
 * Up to this day, I've never killed a single person.
 * You will never see me again.
 * I was going to let you go; after all, there aren't many of us out there, but you're just such a pain in the ass.
 * Please forget about everything.
 * Are you enjoying this?
 * I hate these horns.
 * I just wanted to apologize. That's why I suffered all these tortures, didn't give up.
 * You're a liar
 * Kouta...
 * If i ever end up killing a lot of people... Kouta... Then please, kill me...
 * Nyuu!
 * I'm so sorry for all the sadness I've caused you. I'm so sorry...

title: Elfen Lied


text:
Chrono Crusade

Chrono Crusade is a manga and anime series released in the late 1990's and early 2000's. The main characters are a nun (Rosette Christopher) and demon (Chrono) who work together to perform exorcisms in the late 1920's.  The manga was orignially published by Kadokawa Shoten and authored by Daisuke Moriyama; it was released in the United States by ADV Manga. The anime was produced by GONZO Digimation in Japan and released by ADV Films in North America.

Rosette Christopher

 * Let me ask you the reverse. How is it that you can give up so easily? [exaggerated sigh] I can't understand that...attitude! "It's bad luck! I have no choice!" People who passively accept their fate...because no one knows their future, least of all me, so I don't dare put things off. I have to do what I can, while I can still do it, so...I'll be kicking and screaming, 'til the very end.

 * Good, because only those who believe will be saved, so they say. Get it? Ha ha ha!

 * When you're having fun, have fun, and when you're angry, act angry...and when you want to cry your eyes out, do it! Because after you've cried, you feel better.

 * When you keep your problems to yourself, and force yourself to smile, the person it's hardest on is you.

 * [to Chrono] It's because my time is limited, that I don't have any doubts. It's all thanks to this. That's why I can walk straight ahead, it's why I can always keep going...because I have you with me.

Chrono

 * STOP PLAYING WITH OUR HEARTS!

 * Oh, applesauce! You've wrecked another jalopy. Sister Kate is going to KILL us!

 * [to Rosette] I want...to change things. I want to believe that anything can be changed. The moment I met you, a new world opened up for me. You see, after wandering in the darkness for so long, a light brought me happiness. It's all thanks to you.

 * I want to protect Rosette...so much, that it covers your part of my heart.

 * Now I understand that we have to be incomplete.

Rosette: Yeah, well sometimes all that glitters isn't a gold digger, kid.
 * Azmaria: Wait - you're a sister?!

Azmaria Hendrich

 * My wings have always called forth unhappiness.

 * Are regrets...all you have? You're not the only one with regrets, you know! I couldn't help her either...and now Rosette is suffering by herself! The two of us are the same, we both fought alongside Rosette! And...Satella too. Maybe there's something I could have done to help her, but now...it's too late to change any of it. But the friendship, the time we had together, means something! [ holds up the photograph ] Look! You can't deny even the good things we shared! You can't pretend those precious moments didn't exist!

 * Rosette...Chrono...I will become stronger! So please, watch over me, okay?

Satella Harvenheit

 * Feelings can overcome everything, talent, destiny, and even people's deaths.

Father Ewan Remington

 * I have no attachment to torn wings.

Aion

 * Even at a time like this there’s not a single word of rescue from the one you worship. You see? That is the truth of this world. He doesn’t watch anything and doesn’t save anyone.

 * I am the Alpha and the Omega. I am the beginning and the end.

 * I am eternity given birth by desire, the shadow caused by God. Pandemonium was filled with Light, Heaven with Darkness. Look at the times. No matter how hard people struggle, their fates are in our hands

Dialogue

 * [During a conversation with Chrono, Rosette looks down and sees Elder under the table looking up her dress]
 * Edward 'The Elder' Hamilton: I see Paris, I see France, I see someone's...
 * Sister Rosette Christopher: Aaaaaaaaaaaaaaaaaaaaaaaaah!
 * [Rosette blushes red and covers her skirt]
 * Edward 'The Elder' Hamilton: This time more whiter than the french fry.
 * [Rosette takes the spoon from Chrono's bowl]
 * Sister Rosette Christopher: Perverted old man! I'll kill you with this spoon!
 * [Elder rolls to his side, dodging Rosette's thrust with the spoon]

 * Chrono: [watching the rain fall] Depressing, isn't it?
 * Sister Rosette Christopher: No. Considering we were up all night on a mission, and they ask us to do the shopping on our way home. I'd say it's more than depressing, it's the absolute worst.
 * Azmaria Hendrick: [being tossed around in the back seat] I'm sorry, I said I could do it by myself.
 * Sister Rosette Christopher: What are you talking about? It was obvious to all of us that you couldn't do it alone!
 * Azmaria Hendrick: [the phone rings] Oh, the Phone! Whoah! [falls down]
 * Chrono: Oh, are you all right, Azmaria?
 * Azmaria Hendrick: Yeah, I'm jake.
 * Sister Rosette Christopher: You just stay put. Chrono answer the phone!
 * Chrono: Huh what?
 * Sister Rosette Christopher: Can't you see I'm busy? Someone's gotta drive!
 * Chrono: Hello? Oh, Father Remington, Rosette can't answer the phone right now.
 * Sister Rosette Christopher: [grabs the phone and talks excitedly] Oh, hello, Father.
 * Chrono: Oh boy.
 * Azmaria Hendrick: Should she do that while driving?

 * Sister Anna, Sister Mary, Sister Claire: [In unison] Hi, Chrono!
 * Sister Anna: Is Rosette writing more apologies? Then again, I guess that's what happens when a servant of God destroys an entire building.
 * Sister Mary: A building? I heard it was a whole block.
 * [Sister Anna, coils in surprise]
 * Sister Claire: Actually I heard it was a whole island.
 * [Anna coils in greater shock]
 * Sister Claire: It must be so hard.
 * Chrono: [sheepishly] Well, it happens every time.
 * Sister Rosette Christopher: [shouting] It happens every time?
 * Sister Anna, Sister Mary, Sister Claire: [In unison] Oh, Rosette!
 * Sister Rosette Christopher: A whole block, was it? An island? Blowing people's mistakes out of proportion is so much fun, isn't it? [shouting] BUT WERE YOU THERE?!
 * [Rosette moves her head around, seeing the girls run away]
 * Sister Anna: Who would want to be teamed up with you?

 * Sister Rosette Christopher: [while driving erratically] Say, why do you think Sister Kate is such a pill anyway?
 * Chrono: Could it be because you are always doing things that make her angry?

 * [The slot machine in the casino rolls two 7's and a lemon, Rosette is frustrated]
 * Sister Rosette Christopher: Chrono... gimme another! [Chrono slaps her hand] Hey! What's in your bonnet?!
 * Chrono: You've had it, nun girl! This is no time to be gambling around in a casino!
 * Sister Rosette Christopher: [suddenly coy] Oooh, but poopsie... we've come all this way to Sin City, so why not sin a little? Besides, how often does a girl get to wear something like this? [she wiggles her rear at him] Don't try to tell me you don't like it, too. Loooook, Chrono! Gimme a coin! C'mon, big spender... just one more?
 * Chrono: [obviously half-tempted, half-scandalized] No... the mission comes first!
 * [he attempts to pull her away from the machine, she holds on]
 * Sister Rosette Christopher: [whining] Whaaa, I don't want to go! Can't you hear?! The slots are CALLING me! Pleaaaase?
 * [she breaks the machine handle, both panic and run away]

 * [Rosette and Satella enter a shop]
 * Shopkeeper: Can I help you with something?
 * Rosette: [startled, then nods] Yes!
 * Shopkeeper: Please, tell me!
 * [Awkward laughs and chuckles are exchanged until Satella can't take it anymore]
 * Satella: Hurry up and tell him what you want!
 * Rosette: Okay, already! [she squares herself and takes a deep breath; deathly serious] Do you have a cold medicine that would work, even on a devil?

 * Sister Rosette Christopher: You know, I really do like this view. I wish I could go on looking at it forever. [Chrono smiles, then sits beside Rosette] Hey...
 * Chrono: Hm?
 * Sister Rosette Christopher: ...I was thinking about undoing the seal. If I did it, then you could heal all of your wounds, and everything would be jake--[puts her hand to the pocketwatch]
 * Chrono: [stopping her with his hand] No, applesauce, Rosette. Being here with you is what's really important right now... and I don't want to lose anything else. Not ever again.
 * [Rosette considers, then takes her hand off the watch, and instead places it on top of Chrono's hand]
 * Sister Rosette Christopher: I think about them sometimes, and wonder how everyone is doing.
 * Chrono: Uh-huh.
 * Sister Rosette Christopher: But for right now...I'd rather just be here with you. [they watch the sunset in silence for a moment] In these past few months we've spent together, I've wanted to say so many things to you. But the words... just won't come. [her eyes begin to tear]
 * Chrono: [looks at her concernedly] ...let's go back inside. I think you should lie down and rest.
 * Sister Rosette Christopher: But I don't want to rest yet...not yet. I'm just... [beginning to cry] so scared, Chrono! [their fingers lace together and Chrono's grip tightens; sobbing freely now] I'm scared! I DON'T WANT TO DIE! [she throws herself into Chrono's arms, crying against his chest; weakly] I...just want...to live a little longer. ...is that so wrong?
 * Chrono: [now crying along with her, holds her tighter] Oh, Rosette...

 * Azmaria: Wait, your a sister?!
 * Rosette: Yeah, well sometimes all that glitters isn't a gold digger, kid.

title: Chrono Crusade


text:
Talk:Johnny Cash

Quotes should be removed or reclassified if they are inaccurate, or if they pass a consensus polling for non-notability, they should not be removed merely because someone doesn't like their POV. I have twice restored a quote by Cash about George W. Bush; I didn't originally add this quote, I sourced it after seeing a POV removal of a valid quote; in seeking a source I found mention that he got along with most presidents from Nixon on, but seemed to have no high regard for either Clinton or Bush. If I had come across a quote by Cash specifically mentioning his disregard for Clinton I probably would have added it as well. The remover states Cash wasn't known as a political activist and yet seems highly reactive to this rather tactful statement of dissapproval of Bush, while acceptive of far more vehement dissapproval of the Ku Klux Klan, in an unsourced quote. I might do further sourcing of quotes by Cash in coming weeks because some of them seem interesting, but I am not doing so because of any pro-Bush, anti-Bush, pro-Clinton or anti-Clinton agenda. ~ Shadow 20:38, 12 August 2006 (UTC)

 * A snide comment about a political figure is hardly noteworthy for Johnny Cash. While he has made political statements, the ones that I believe are of import were the ones about improving prison circumstances in his conversation with Nixon. If a famous star makes a comment about picking his nose, you wouldn't put it here, unless it were a common comment or part of their act. Nor should an off-the-cuff comment about a political figure be put here unless it is relevant in the larger scheme of things. Including quotes that do not illustrate the person's primary area of note or talents can be used to push your own POV by including otherwise obscure material. Nearly everyone says things that are not indicative of their greater work. If you feel that Cash had a problem with all political figures (I think this is a valid and relevant point), a sampling of all of those political quotes might be useful, but one quote about a single political figure does not qualify to open the article about a famous musician such as Johnny Cash, does it? DavidBailey 18:47, 13 August 2006 (UTC)

why are there no quotes from the songs?

Unsourced
Wikiquote no longer allows unsourced quotations, and they are in process of being removed from our pages (see Wikiquote:Limits on quotations); but if you can provide a reliable and precise source for any quote on this list please move it to.

 * A person knows when it just seems to feel right to them. Listen to your heart.

 * Children, all your life, you will be faced with a choice. You can choose love or hate... I choose love.

 * Compassion is something I have a lot of, because I've been through a lot of pain in my life. Anybody who has suffered a lot of pain has a lot of compassion.

 * Country radio doesn't program hardly anybody over 40. Country music is about tradition. And they're losing that tradition. In my mind, anyway.

 * Every possession is just another stick to beat yourself with.

 * How well I have learned that there is no fence to sit on between heaven and hell. There is a deep, wide gulf, a chasm, and in that chasm is no place for any man.

 * I am not a Christian artist, I am an artist who is a Christian.

 * I do believe the sum extent of the messiness, disarrangement, disorder, and dirtiness of your room is equal to that of your brain.

 * I have a new album out. It's American Recordings, it was done with an American Recording company, and was recorded in America.

 * I haven't had any particular direction in my music. I just do it the way I feel it at the time.

 * I just want to be remembered as a good daddy.

 * I learn from my mistakes. It's a very painful way to learn, but without pain, the old saying is, there's no gain.

 * I never did understand the resentment about Country artists "going pop". Either you've got what it takes to appeal to a whole lot of people, or you don't.

 * I wouldn't let anybody influence me into thinking I was doing the wrong thing by singing about death, hell and drugs. Because I've always done that, and I always will.

 * If you aren't gonna say exactly how and what you feel, you might as well not say anything at all.

 * If you don't get outside every day, even for a minute, you have not appreciated what God has done. It makes you grateful for our surroundings, and it starts your day differently.

 * It makes me so mad that some people underestimate the wisdom and energy of young people. All because they don't look the way older folks think they should look. I'm working on a song about it. Maybe some of those closed minded people will realise long hair and tattoos don't mean they should be ignored. Close minded people are part of what's wrong with this world.
 * It's good to know who hates you, and it's good to be hated by the right people. The Klan is despicable, filthy, dirty, unkind. It's a shame sometimes that we have all these freedoms, 'cause freedom allows them to exist. I'd love to see them all thrown in prison.

 * My Mama always said she wanted her roses while she was living... not after she was gone. That's why everyone should always honour their mother and father. No matter how much you may disagree with their beliefs, those that have lived longer than us always have something to teach us, that we can take with us for the rest of our lives.

 * Some of the old songs I sing often, because they help me to reflect on where I've been and that's important for me to do — so I don't lose track of where I am going.

 * Success is having to worry about every damn thing in the world, except money.

 * The best way to say anything is just to say it.

 * The Master of Life's been good to me. He has given me strength to face past illnesses, and victory in the face of defeat.  He has given me life and joy where others saw oblivion.  He has given new purposes to live for.  New services to render and old wounds to heal.  Life and love go on.  Let the music play.

 * What I resent is the attempt at defamation of character, and the attempt to make my children ashamed they were born. If there's a mongrel in the crowd, it's me, because I'm Scottish and one-quarter Cherokee Indian.

 * When God forgave me, I figured I'd better do it too.

 * You build on failure. You use it as a stepping stone; close the door on the past. You don't try to forget the mistakes, but you don't dwell on it. You don't let it have any of your energy, or any of your time, or any of your space. If you analyse it as you're moving forward, you'll never fall in the same trap twice, which I can't say that I haven't been guilty of doing. But my advice is, if they're going to break your legs once when you go in that place, stay out of there.

 * You've got a song you're singing from your gut, you want that audience to feel it in their gut. And you've got to make them think that you're one of them sitting out there with them too. They've got to be able to relate to what you're doing.

 * You've got to know your limitations. I don't know what your limitations are. I found out what mine were when I was twelve. I found out that there weren't too many limitations, if I did it my way.

Quotes about Johnny Cash

 * There are two kinds of people, there's those who like Johnny Cash, and those that will.
 * Marty Stuart

 * Every man knows that he is a sissy compared to Johnny Cash.
 * Bono

 * Johnny was and is the North Star; you could guide your ship by him. The greatest of the greats - then and now.
 * Bob Dylan

johnny cash love his wife
 * His face should be on Mount Rushmore as far as I'm concerned
 * Kid Rock

title: Talk:Johnny Cash


text:
Texas Longhorn Athletics

This page is for quotes about Texas Longhorn athletic teams.

The Texas Longhorns football squad represents the University of Texas in American football.

Quotes

 * Amazing, there's just no other word for it. Amazing.
 * Darrell Royal Famous Quotes by Darrell Royal

 * The quarterback just ran all over the place. He's a fantastic player. He was the difference. And how classic was it that he ran it in on the last play?
 * Pete Carroll

 * That's the best single-game performance I've ever had against me.
 * Pete Carroll

 * We never, ever, really thought we'd lose the ballgame.
 * Mack Brown

 * It's so beautiful. Don't you think that's beautiful? It's coming home all the way to Austin, Texas.
 * Vince Young

 * This is what it's all about, 41-38 in the final game. You couldn't ask for anything better. This was a great football game. We gave our hearts, they gave their hearts, and they came out on top.
 * Matt Leinart

 * What you saw Wednesday night was the best player in University of Texas history. That's the state university of the state that thinks it invented the game.

 * Vince Young is the greatest quarterback to ever play college football.
 * Ronnie Lott

 * When the Rose Bowl chooses their "all century team", the quarterback will not be from the Big-10 or Pac-10, it will be Vince Young of Texas.

 * In a once-in-a-lifetime national championship game, Vince Young became a once-in-a-lifetime college football legend...Vince Young is easily the greatest single player in the history of the Rose Bowl (a mouthful of a statement in its own right), and likely the owner of the greatest single-game performance in the 137-year history of Division I-A college football.

 * We have Vince Young on the show tonight...We were able to do something USC couldn't do, we grabbed him.
 * Jay Leno

title: Texas Longhorn Athletics


text:
R. A. Lafferty

Raphael Aloysius Lafferty (7 November 1914 – 18 March 2002) was an American science fiction and fantasy writer, famous for his humorous use of metaphor, narrative structure, and language in his very peculiar forms of etymological wit.

Quotes

 * "Tell me the truth, girl: how does the man next door ship out trailer-loads of material from a building ten times too small to hold the stuff?" "He cuts prices."
 * "In Our Block" (1965); later in Nine Hundred Grandmothers (1970)

 * "My brain reels," moaned Homer the man. "Reality melts away."
 * "The Hole in the Corner" (1967); later in Nine Hundred Grandmothers (1970)

 * To you who are scattered and broken, gather again and mend. Rebuild always, and again I say rebuild. Renew the face of the earth. It is a loved face, but now it is covered with the webs of tired spiders.
 * Judy's letter to the dispersed members of the Church of Omaha, in "And Walk Now Gently Through the Fire" (1972)

 * When very young, Hannali would sit on the black ground and chuckle till it was feared he would injure himself. Whatever came over him, prenatal witticism or ancestral joke, he seldom was able to hold his glee. In all his life he never learned to hold it in.
 * Okla Hannali (1972)

 * I write as clearly as I am able to. I sometimes tackle ideas and notions that are relatively complex, and it is very difficult to be sure that I am conveying them in the best way. Anyone who goes beyond cliche phrases and cliche ideas will have this trouble.
 * Interview in Alien Critic (August 1973)

 * Though my short stories are the more readable, my novels do have more to say; and they will, if anyone has the patience for it, repay a rereading.
 * Interview in Alien Critic (August 1973)

 * “How quickly I could clean this desk,” she thought, “if only the wastebasket were larger.”
 * Brain Fever Season, in Universe 7 (1977), (ed. Terry Carr), p. 182

 * For, without cruelty, only a limited success is ever possible in opera.
 * Selenium Ghosts of the Eighteen Seventies (1978), in Terry Carr (ed.), The Year's Finest Fantasy: Volume 2, p. 233 (originally published in Universe 8)

 * Science Fiction has long been babbling about cosmic destructions and the ending of either physical or civilized worlds, but it has all been displaced babble. SF has been carrying on about near-future or far-future destructions and its mind-set will not allow it to realize that the destruction of our world has already happened in the quite recent past, that today is "The Day After The World Ended". … I am speaking literally about a real happening, the end of the world in which we lived till fairly recent years. The destruction or unstructuring of that world, which is still sometimes referred to as "Western Civilization" or "Modern Civilization", happened suddenly, some time in the half century between 1912 and 1962. That world, which was "The World" for a few centuries, is gone. Though it ended quite recently, the amnesia concerning its ending is general. Several historiographers have given the opinion that these amnesias are features common to all "ends of worlds". Nobody now remembers our late world very clearly, and nobody will ever remember it clearly in the natural order of things. It can't be recollected because recollection is one of the things it took with it when it went...
 * The Day After the World Ended, notes for a speech at DeepSouthCon'79, New Orleans (21 July 1979), later published in It's Down the Slippery Cellar Stairs (1995)

 * In its flexibility and in its wide-open opportunities, this is the total Utopia. Anything that you can conceive of, you can do in this non-world. Nothing can stop you except a total bankruptcy of creativity. The seedbed is waiting. All the circumstances stand ready. The fructifying minerals are literally jumping out of the ground. And nothing grows. And nothing grows. And nothing grows. Well, why doesn't it?
 * The Day After the World Ended, notes for a speech at DeepSouthCon'79, New Orleans (21 July 1979), later published in It's Down the Slippery Cellar Stairs (1995)

 * When you have shot and killed a man you have in some measure clarified your attitude toward him. You have given a definite answer to a definite problem. For better or worse you have acted decisively. In a way, the next move is up to him.
 * "Golden Gate" in Golden Gate and Other Stories (1982)

 * I don't think I should be getting more attention from mainstream book reviewers. I've never written any mainstream books, and I'm always surprised when the mainstreamers notice me at all.
 * As quoted in "My interview with R.A. Lafferty", by Tom Jackson, originally published in Lan's Lantern #39 (1991); here in the Sandusky Register (16 January 2015)

 * I don't regard myself as a Surrealist in the sense of the "Surrealist Manifesto" published by Andre Breton in 1924. To me, that Manifesto is somewhat dated, being a recoil from World War I, and being too heavily Freudian. My own unconscious is more Jungian than Freudian. But if Breton hadn't staked claim to the name, I would probably call myself a Surrealist in the "Remembrance of Things Within" sense, but not in the "world of dream and fantasy joined to the everyday rational world, becoming 'an absolute reality, a surreality'." I suppose that I believe in another sort of a surreality or super-reality, but it would have to be on a wider basis than the encounters of myself and me. As often as not, it is the subconscious that supplies the rational element, and the exterior world that supplies the dream and fantasy feeling.
 * As quoted in "My interview with R.A. Lafferty", by Tom Jackson, originally published in Lan's Lantern #39 (1991)

 * The best time to write a story is yesterday. The next best time is today.
 * It's Down the Slippery Cellar Stairs (1995)

 * The good stories, of course, write themselves. And somebody wants to know who are the really good writers, and how many of them there are. There aren't any. Most of the writers are likeable frauds. Some are unlikable frauds.
 * It's Down the Slippery Cellar Stairs (1995)

 * Mr. Lafferty says, "I'm the fellow who, for more than a quarter century, has faithfully maintained the thesis that all writers should be funny-looking and all stories should be funny. Almost all of the evil in the world is brought about by handsome writers doing pompous pieces. But sometimes readers tell me that such a story of mine is not funny at all. 'Wait, wait,' I tell them. 'You're holding it upside-down. Now try it.' And sure enough it is funny if they get ahold of it right. This caution is especially applicable to the story 'Junkyard Thoughts.' Be sure you're not holding it upside-down or it will be merely bewildering."
 * Introduction to 'Junkyard Thoughts' in Isaac Asimov's Science Fiction Magazine (February 1986)

Past Master (1968)

 * Paul, there is something very slack about a future that will take a biting satire for a vapid dream.
 * The character of Thomas More on the future reception of his Utopia, in Ch. 2

 * The shapes they take are both objective and subjective. One can shape them a little with one's own mind.
 * Ch. 7

 * Now then, I have given you a short fair hearing as the law requires. I do not solicit the support of your party, though, in all honesty, if it had more than one member I might.
 * Ch. 9

Space Chantey (1968)

 * A comedic space-fantasy based upon the Odyssey of Homer and other tales of mythology and folklore.

 * Lend ear while things incredible we bring about And Spacemen dead and deathless yet we sing about:—  And some were weak and wan, and some were strong enough, And some got home, but damn it took them long enough!
 * Ch. 1

 * This myth filter was necessary. The ship logs could not tell it rightly nor could any flatfooted prose. And the deeds were too bright to be viewed direct. They could only be sung by a bard gone blind from viewing suns that were suns.
 * Ch. 1

 * The war was finished. It had lasted ten equivalent years and taken ten million lives. Thus it was neither of long duration nor of serious attrition. It hadn't any great significance; it was not intended to have. It did not prove a point, since all points had long ago been proven. What it did, perhaps, was to emphasize an aspect, sharpen a concept, underline a trend. On the whole it was a successful operation. Economically and ecologically it was of healthy effect, and who should grumble? And after wars, men go home. No, no, men start for home. It's not the same.
 * Ch. 1

 * These men were the salt of the skies, the one out of ten who had determinedly stayed alive through the whole war, very often hurt, absolutely refusing to be killed.
 * Ch. 1

 * When we travel we find how greatly our boyhood dreams are outstripped by reality.
 * Captain Roadstrum, about the planet Lotophage, Ch. 1

 * I do not understand your custom in this, but we do not intend to fight until all of us are dead. We desire very much that none of us be dead. And we will fight till all of you are dead only if it is absolutely necessary.
 * Captain Roadstrum to Bjorn, on planet Valhal, also known as Lamos, in Ch. 2

 * There are no rules. We do whatever seems the most fun.
 * Bjorn to Captain Roadstrum, Ch. 2

 * Death is for a long time. Those of shallow thought say that it is forever. There is, at least, a long night of it. There is the forgetfulness and the loss of identity. The spirit, even as the body, is unstrung and burst and scattered. One goes down to death, and it leaves a mark on one forever.
 * On death and the nightly resurrection of the slain on Valhal, Ch. 2

 * I've had enough of this place where they stuff you full of bull and then hunt you down and kill you every day.
 * Crewman Humphrey on Valhal, Ch. 2

 * There are skies we have not seen yet! There are whole realms still unvisited by us. We will not be penned in even a giant's pen. We fly!
 * Captain Roadstrum, Ch. 2

 * I will never tell anyone how much fun it is in this place.
 * Oath by Captain Roadstrum not to tell how much fun Valhal is, written in blood from the roots of his torn-out tongue, Ch. 2

 * The Dong button was just that, a big green button with the word Dong engraved on it. You pushed it, and it went dong. Well, that was almost too simple. Should there not be a deeper reason for it? And the small instruction plate over it didn’t add much. It read: “Wrong prong, bong gong.”
 * Description of a Dong button, which is later revealed to reverse the flow of time for the wielder, if there has been a dire error made which needs correcting, Ch. 3

 * They were down on Kentron-Kosmon, an insignificant world. And yet, in the middle of Space-Port there (a cow pasture rather; it wasn't much of a spaceport) there was a nice plaque of electrum and on it was lettered: This is the Exact Center of the Universe.
 * Ch. 4

 * I'm the guy who keeps it all going. If I weren't here, you wouldn't be here either. I know it all, I'm a smart-aleck. Loan-sharking and fencing. Any time I can't see you, you've had it.
 * Sign on the booth of "the big fellow" of Kentron-Kosmon, Atlas, in Ch. 3

 * It isn't my profundity that makes me a mental marvel, it's the amazing detail of my perception. There's nobody else who can keep so many things on his mind at once.
 * Atlas, in Ch. 4

 * As regards very small celestial bodies of a light-minded nature, the law of levity is allowed to supersede the law of gravity.
 * Atlas, in Ch. 4

 * I tried to tell you, but words will not convey it. One has to be inside it to comprehend the magnitude. … It was the beginning. It's the only thing there is. But it was haphazard for so many aeons that it spooks me to think about it. There were always three or four maintaining it, but there was no one person strong enough to take it all over. "Somewhere there must be someone strong enough to take it all over," I said to myself in a direful moment, but the strongest person I could think of was myself. I've been doing it ever since. … By my attention I hold it all in being. Nothing exists unless it is perceived. If perception fails for a moment, then that thing fails forever. … I hate to be misjudged. They say that I bear it all on my shoulders, as though I were a stud or a balk. It's not on my great shoulders, it is amazing head on my great shoulders that maintains all.
 * Atlas, on bearing the burden of maintaining the worlds, in Ch. 4

 * An excess of science will leave none of us alive.
 * Roadstrum to Puckett, on using crew members to test the lethality of the Siren-Zo, in Ch. 4

 * "'Monday and Tuesday and Monday and Tuesday and Monday and Tuesday,' so the poor slaves had to sing in their labor for the puca. And finally a great savior broke the charm. 'And Wednesday too' he said, and then it was all over with." "Roadstrum is the great savior who breaks the charm," Roadstrum announced. "I will set a Wednesday-term to the monster. But there are other elements in this…"
 * On confronting the Siren-Zo of Sireneca, in Ch. 4

 * Roadstrum had a way of putting it on a little thick himself. "Be there a man among you who doubts my demesne or destiny, then I have fared in vain," he said. "I bare my throat to the treacherous steel —" "All right, all right," the three tough crewmen capitulated. We're with you all the way and in everything. Only spare us the 'act.'"
 * Roadstrum confronting a potential mutiny, in Ch. 5

 * Roadstrum had always believed that he had troubles enough of his own. He seldom borrowed trouble, and never on usurious terms. He knew that it was a solid thing that sheep do not gather in taverns and drink beer, not even potato beer; that they do not sing, not even badly; that they do not tell stories. But a stranger can easily make trouble for himself on a strange world by challenging local customs. "But I am the greet Roadstrum," he said, suddenly and loudly. "I am a great one for winning justice for the lowly, and I do not scare easily. I threw the great Atlas at the wrestle, and who else can say as much? I suffer from the heroic sickness every third day about nightfall, and I am not sure whether this is the third day or not. I say you are men and not sheep. I say: Arise and be men indeed!" "It has been tried before," said Roadstrum's friend, the sheep, "and it didn't work." "You have tried a revolt, and it failed?" "No, no, another man tried to incite us to revolt, and failed."
 * Ch. 5, on Polyphemia

 * "Strangers may not lodge complaints till they have been in residence here for ninety days," the Cacique said, "and no stranger has ever remained with us that long." "My complaint won't hold for ninety days. I accuse you people of eating men."
 * Ch. 5

 * "Here there are warlocks and mandragoras and witches," the navigation data log issued. "When your machines start to go droll on you you're in trouble," Roadstrum growled. "I can get wise answers from my men. I don't need a machine for that."
 * Ch. 6, on approaching the world of Aeaea

 * 'We are strangers, lost and bemused," Roadstrum said to the lady. "We have landed here by accident. We are looking for a lady who was singing, the lady who (according to silly myth) is identical with the planet and who sang the planet into being."
 * Ch. 6

 * I am Aeaea. To my notion there is no other lady anywhere. And I resent your calling this a silly myth. I made the myth and it is not silly; charming rather. Well, come along, come along! You are my things now, and you will come when I call you.
 * Ch. 6

 * "I am mistress of all the sciences. I go so far beyond all else that my work is called magic. I manipulate noumena, regarding monads as points of entry tangential to hylomorphism. As to the paradox of Primary Essence being contained in Quiddity, the larger in the smaller, I have my own solution. The difficulty is always in not confusing Contingency with Accidence. Do you understand me?" "Sure. You're a witch."
 * Ch. 6

 * Do you not know that the underground lands are shared by many worlds? It is all one underground, a vast place, and it is but a trick on which globe one will surface on coming out. This is the reason that the inside of every world is so much vaster than the outside. You are fooled by the shape of these little balls on which things live and crawl; you see the universe inside out; you see the orbs as containing and not contained. I will teach you to see it right if you please me.
 * Aeaea, Ch. 6

 * I am the consummate scientist, Road-Storm. Science has suffered in having her name applied to mechanics, an ugly step-child of hers. Matter herself is a humiliation to the serious. We cannot make it vanish forever, but can make it seem to. For my purpose that is even better. All matter can be modified as long as it is kept subjective. Let us keep it so. … Those who fail to understand my science may call it magic or hypnotism or deception. But it is only my projection of total subjectivity.
 * Aeaea, Ch. 6

 * I'll break the spell or the science of her singing yet. As the only man left it devolves on me to do it.
 * Roadstrum, not realizing he has become a small ape, in Ch. 6

 * Something was working in Roadstrum's little ape head. When he had been a man he had always known when it was time for action; particularly he had always known the last moment when action was still possible. He knew now that that moment was come very near. … Then a blinding light burst upon Roadstrum, and he saw the truth of the situation. Many things Roadstrum was not, and it was sometimes wondered why he was the natural leader of all the men. He was their leader because he was a man on whom the blinding light sometimes descended.
 * Ch. 6

 * The witch has been playing a semantic trick on us. We were already pretty salty animals when we came here! It is toy animals she has turned us into. We have been working against ourselves, trying to be men again, but to be her idea of men, since we live in her context. But she does not know real animals, or men. … Be you not toys any longer! Stir up the wild business in you. You have to be real animals before you can be men.
 * Ch. 6

 * It was the most exclusive club in the world, in all the worlds, and this is a mighty pale statement to make about it. Let us emphasize that it was hard to get into.
 * On "The Club" AKA the High Liar's Club, Ch. 7

 * "This is the Improbable Club," said the President-Emeritus in a heavy muffled voice, "and you things have made an improbable entry. Many unqualified persons have attempted to crash this Club, but you have done it literally. Whether you will be able to qualify for our high membership is another thing. It will not matter. We accept, for a brief moment at least, all who come here as members. We will quickly measure you one way or another. We have no living ex-members. Sit you down, all, and unwind your ears. Remember, each topper must be topped."
 * Ch. 7

 * Be not nervous. In a very little while you will either be a member or you will not be.
 * Ch. 7

 * "For one crime there is no asylum even in the Club," whispered Horace the Snake, who had sharp ears for whispering. "For all other crimes we give asylum, for the most heinous crime in the universe we give no asylum." "What is the most heinous crime in the universe?" Roadstrum asked. "Killing a songbird."
 * Ch. 7

 * The place itself, and ne'er a good word spoke of it, You shiver when you even make a joke of it. Though some go cocky, gaily in hand-basket there, The most fare sadly in a clammy casket there…  Undying pain and gaping loss, no doubt of it. A wide way leading in and no way out of it!  But none have told the blackest horror shrouded there — Tall teeming terror‚ but it sure is crowded there.
 * On Hellpepper Planet, Ch. 7

 * If you have come with high expectations of anything, you have come to the wrong place.
 * A lieutenant of Tiresias, Ch. 7

 * You show signs of levity, and that is the one thing not permitted here. This place is for serious persons only. If you are not serious now, by hell you'll get serious pretty quick!
 * Tiresias, Ch. 7

 * This petty place cannot be Hell, Roadstrum? Ah, but it is my friend. That, you see, is the hell of it.
 * Tiresias, Ch. 7

 * Man-a-bleeding, but they broke out of that place! You say it can't be done, but they did it. Their expectations had been too high, and no second-rate Hell could hold them. In a way it was their greatest feat. No one else had ever broken out of there before.
 * Ch. 7

 * "I'm doing pretty good. I'm a seminal genius, they say, and I have the most sophisticated tools ever devised to work with. And I do build some good things for them. I'm quite successful. I'll tell you something, though. In the daytime, with all those sophisticated tools, and particularly if someone's watching me, I just stall around. But at night — " "Ah, at night! What do you do then, Hondstarfer?" "Put away those damned sophisticated tools and get my stone hammers. That's when I build the good stuff. Don't give me away, though, Roadstrum.
 * Ch. 8, Hondstarfer of Valhal, speaking of his work as a design engineer.

 * The eye in his hand winked at him dourly. Eye was a tough old gump, not given to easy enthusiasms. Roadstrum put it back in his pocket and once more contemplated his good fortune.
 * Comments on Roadstrum speaking to the pickled eye he carries in his pocket, in Ch. 8

 * I will be double-damned to a better Hell than Hellpepper Planet if I will have my ending here in peace! Peace be not the end of my epic! An epic is already failed if it have an ending. I don't care how it ended the first time — it will not end the same now!
 * Roadstrum, in Ch. 8

 * His soaring vaunt escaped the blooming ears of us, He's gone, he's dead, he's dirt, he disappears from us!  Be this the death of highest thrust of human all? The flaming end of bright and shining crewmen all?  Destroyed? His road is run? It's but a bend of it; Make no mistake, this only seems
 * the end of it.
 * Ch. 8

The Reefs of Earth (1968)

 * Sometimes traveling people will be talking together. They will say how good it is in some places and how bad it is in others. And, sooner or later, one of them is bound to mention it. "Talk about really being out in the boondocks!" he will say, "there's a little planet named Earth —"

 * It was their way of defying that tricky place Earth. That place will hurt you if you let it get the hop on you. They spooked the Earth spooks away with their stories. They whistled in the dark.

 * "Pirates are perhaps the greatest invention of Earth people," Elizabeth interrupted loftily, "and their pirate stories are wonderful entertainment for small children. We have to give Earth people credit for that, they invented pirates."

Fourth Mansions (1969)

 * "There was a later time when sincere men tried to build an organization as wide as the world to secure the peace of the world. It had been tried before and it had failed before. Perhaps if it failed this time it would not be tried again for a very long while. The idea of the thing was attacked by good and bad men, in good faith and bad. The final realization of it was so close that it could be touched with the fingertips. A gambler wouldn't have given odds on it either way. It teetered, and it almost seemed as though it would succeed. Then members of that group interfered." "And it failed, O'Claire?" "No. It succeeded, Foley, as in the other case. It succeeded in so twisted a fashion that the Devil himself was puzzled as to whether he had gained or lost ground by it. And he isn't easily puzzled."
 * Ch. 4

 * "A newspaper man has got to know when to keep his mouth and his mind shut. You might end up dead." "Isn't that the usual fate of men, Harry?"
 * Ch. 8

The Flame is Green (1971)

"Or let us say that we have a green thing growing forever. Everything that is done is done by it. And on it we also have the red parasite crunching forever: and everything that is undone is undone by that. The parasite will present itself as a modern thing. It will call itself the Great Change. Less often, and warily, it will call itself the Great Renewal. But it can never be another thing than the Red Failure returned. It is a disease, it is a scarlet fever, a typhoid, a diphtheria; it is the Africa disease, it is the red leprosy, it is the crab-cancer. It is the death of the individual and of the corporate soul. And incidentally, but very often, it is also the death of the individual and of the corporate body. We are asked to swear fealty to the parasite disease which the enemy sowed from the beginning. I will not do it, and I hope that you will not."
 * “The world is a garden,” the old man said. “It is a farm, a plantation, a sheep-ranch. In the garden are the cities also; they too are a great part of the planting. Believe me, all these plantations are sowed with good seed. But the Enemy from the Beginning also sows the red blight: these are the charlocks, the tares, called zizania in the Vulgate. Do not be fooled as to what it is and who sowed it. Do not be fooled in the factory or the arsenal, in the ship-yard or the shop; do not be fooled on the bleak farms or in the crowded city, in the club or in the workers’ hall or in the drawing room. The wrong thing that is sowed is the red weed, the red blight. And the Enemy has done this.
 * Ch. 5 : Muerte De Boscaje

 * "Do not be deceived by the way men of bad faith misuse words and names," the Black Pope was saying, and now his head was quite powdered with snow. "It used to be only the English who excelled in the deception of words. Then the French went even beyond them, and now the whole world is adept at it."
 * Ch. 5 : Muerte De Boscaje

 * Things are set up as contraries that are not even in the same category. Listen to me: the opposite of radical is superficial, the opposite of liberal is stingy; the opposite of conservative is destructive. Thus I will describe myself as a radical conservative liberal; but certain of the tainted red fish will swear that there can be no such fish as that. Beware of those who use words to mean their opposites. At the same time have pity on them, for usually this trick is their only stock in trade.
 * Ch. 5 : Muerte De Boscaje

 * "There are only two possible statements that can be made about the worlds," the Black Pope of the Carlist Hills had lectured one day. "Alpha: There is a God. Omega: there is not a God. To adhere to either of these two statements strongly is to be logical at least. Not to do so is to be in the snivelling wasteland between and to have no point of contact with logic or reason."
 * Ch. 5 : Muerte De Boscaje

 * Beware of those who manufacture final answers as they go along, of those who will catch you on their catch-phrases and let you perish in the traps. All the final answers were given in the beginning. They stand shining, above and beyond us, but they are always there to be seen. They may be too bright for us, they may be too clear for us. Well then, we must clarify our own eyes. Our task is to grow out until we reach them.
 * Ch. 9 : Oh, The Steep Roofs of Paris

 * We ourselves become the bridges out over the interval that is the world and time. It is a daring thing to fling ourselves out over that void that is black and scarlet below and green and gold above. A bridge does not abandon its first shore when it grows out in spans towards the further one.
 * Ch. 9 : Oh, The Steep Roofs of Paris

 * In this growing there are no really new things or new situations. There are only things growing out right, or things growing out deformed or shriveled. There is nothing new about railways or foundries or lathes or steel furnaces. They also are green-growing things. There is nothing new about organizations of men or of money. All these growing things are good, if they grow towards the final answers that were given in the beginning.
 * Ch. 9 : Oh, The Steep Roofs of Paris

 * The devils stroll the earth again and infect with the red sickness. They must, at all cost to themselves, destroy the growing tendrils before such can touch the other side. For, whenever one least growing creeper touches across the interval, that means the extinction of a devil. It is a thing to be tested. Notice it that whenever there is the special shrilling, when there is the wild flinging out of catchwords to catch you in, when there are the weird exceptions and inclusions, when there are specious arguments and the murderous defamations, when all the volubility of the voltairians and the cuteness of the queers has been assembled to confound you, then one green growth has almost reached across to the other side, one devil is in danger of extinction. Oh, they will defend against that!
 * Ch. 9 : Oh, The Steep Roofs of Paris

 * Listen now to a series of sayings that always come hard to brave people. Our own great movement will grow with its own impetus wherever it is not blighted. We will break up persons of blight and centers of blight. But often, and this will be the hard part for all of you to understand, we will warn and advise before we kill. And quite often we will not kill at all. Try to understand this.
 * Ch. 9 : Oh, The Steep Roofs of Paris

Arrive at Easterwine (1971)

 * Arrive at Easterwine : The Autobiography of a Ktistec Machine — The narrator of this story is a "Epiktistes" conscious machine about the size of a building, with an ability to create mobile extensions of itself.

 * Oh, come along, reader of the High Journal; if you do not love words, how will you love the communication? How will you forgive me my tropes, communicate the love?
 * Epigraph (of "Epiktistes")

 * Gaetan had always had a terrible finality about him. Was this his great sin — that he was already completed? I will intercede for him tonight in my own not entirely mechanical way. To be completed is to be finished in so many ways! May that twinkling man Gaetan be undone a little and saved.
 * Ch. 6

 * True love is that we should hate whatever interferes with our vision of the high and the lowly.
 * Ch. 6

 * "Oh, I cannot abide these complacent clods," I exclaim. "I cannot relate to these opulent oafs who are laughing in the streets. They are not high enough or low enough. For my love I must find the poor, the deprived, the fornicators, the addicts, the drunkards, the unwashed, ..." "Oh, these are the poor," the clod told me. "This is the poorest street in town, Index Y-Z. It's hard to tell them apart now except that the poor spend more ostentatiously than the rich do."
 * Ch. 6

The Devil is Dead (1971)

 * Put the nightmare together. If you do not wake up screaming, you have not put it together well.
 * Prologue

 * Carr states that the characters of the Brunhilde are not true archetypes. Why, then they are false archetypes, and these also have their being. Kidd believes that X himself is in the process of becoming the Third Evil to fill the void left by the insufficiency of Papadiabolous and Seaworthy in the roles of devils. But Kidd is Joycean. To complicate matters, Lafferty swears that Finnegan is in no way Joycean, that he is nine hundred years earlier, out of the Yellow Book of Lecan (the Tain Bo Cuailinge), a character out of the Tain. This presupposes that Finnegan is identical with Fion McCool as well as with the more derivative Fingal, and also with Cu Chulainn. Well, Finnegan is capable of being all. To those interested in this line I recommend Thurneysen’s Die Irische Helden- und Konigsage.
 * Interglossia

 * When you can't depend on the Devil, who can you depend on?
 * Ch. 5

 * Brannagan had been to more places than Finnegan had, including the same places. He had not only skirted the d'Entre-Casteau Islands, he had walked all over them. He had not only sailed through China Straits, he had dived in them for old wrecks. He had not only climbed the Cloudy Mountains, but had panned gold in their streams and dips.
 * Ch. 13

Archipelago (1979)

 * "The perfect ghost story is the story of Possession," he said, "and that is hypnotism from beyond the grave. This is possible since hypnotism is by the will, and the will is immortal. A number of notable men have been possessed, and all of their lives seem to fit a pattern: the inconsequential early years, the hiatus when they stood where Faust stood, and the decision. And then the rise to power and influence and almost universal honor after they have made the deal. But it is not themselves, it is the devils within them that gain these things. They are the possessed men who do much of the running of the world, and theirs is the most frightening story that can be imagined. But those who watch the great men do not know that they are shells inhabited by ghosts."
 * Chapter Three, Pt. 5, A "ghost story" as narrated in its entirety by a character in the novel in a small ward gathering.

 * A crisis should have thunder in it. If Finnegan and Dotty had been able to generate a crisis with thunder and lightning, things might have been different. But what if the last anchor-cable parts when no one knows it, and the drift has already begun? This is the crisis come and gone.
 * Chapter Four, Pt. 6

Quotations about Lafferty

 * Alphabetically by author or source

 * R .A. Lafferty has always been uniquely his own man, but in this book he surpasses himself. It is wild, subtle, demonic, angelic, hilarious, tragic, poetic, a thundering melodrama and a quest into the depths of the human spirit. You'll think about it for a long time and probably go back to it more than once.
 * Poul Anderson on Fourth Mansions (1969)

'''Rhetoric, in the grand old manner, was at the center of his game. He could go from high-faluting to just plain faluting, and back again, all in a paragraph.''' Like Charles Mingus, another American original, Lafferty loved the sounds he made; never satisfied with mere profundity, he was pretty, too. He was our Mingus, I think, elevating us all. And his stories always had a humanist agenda, though I understand he was a political conservative. … I believe his day is yet to come; that like Melville, Lafferty will be "discovered," and his Okla Hannali will take its rightful place as one of the three or four truly great 20th century American novels.
 * For me, reading Lafferty was like looking into Chapman’s Homer. He interested me in SF again, after I had outgrown my early love for Simak and Asimov and Heinlein. What a word slinger: what a richness of idea and image, in Irish-cadenced prose! Lafferty wrote the opposite of the post-Chekhovian modern short story. Show don’t tell? The pleasure is in the telling.
 * Terry Bisson, in "R.A. LAFFERTY (1914 - 2002)", a eulogy in LOCUS magazine

 * Characters in Lafferty stories don't act or speak as normal folks do. Impossible things happen routinely. Indeed, the whole philosophical works are staged like a two-bit vaudeville act, with characters reminiscent of sideshow hucksters and midway card-sharps, promising marvelous prizes with one hand and taking your money with the other, leaving you wondering what the hell this thing is being put into your hands while you're being shuffled out the back door. But the prize here is the key to the kingdom, and the show is pretty funny. There is in fact no limit to Lafferty's humor — even the old banana-peel gag will be trotted out if it'll get a laugh.
 * Brian Cholfin in "And They Took the Sky Off at Night'

 * The history of the Choctaw Indians has been told before and is still being told, but it has never been told in the way Lafferty tells it … Hannali is a buffalo bull of a man who should become one of the enduring characters in the literature of the American Indian.
 * Dee Brown, quoted in the University of Oklahoma Press edition of Okla Hannali

 * One of the few writers who have made me laugh aloud.
 * Arthur C. Clarke

 * Lafferty's first full-length work is an event. As with everything the man writes, the wind of imagination blows strongly, with the happy difference that in a novel he can reach full gale-force, Lafferty defies categorization; his work is unlike anyone else's. This is a great galloping madman of a novel, drenched in sound and color.
 * Harlan Ellison on Past Master (1968)

 * R. A. Lafferty, who died at 87 on March 18, was undoubtedly the finest writer of whatever it was that he did that ever there was. He was a genius, an oddball, a madman. His stories… are without precedent...
 * Neil Gaiman in the Washington Post, April 4, 2002

 * And I love it as a reader. He [ Robert Aickman ] will bring on atmosphere. He will construct these perfect, dark, doomed little stories, what he called "strange stories." I find the same with Lafferty. We were talking about Lafferty earlier as somebody who I'd love to read. I am hoping someone will do the complete short stories of R.A. Lafferty. What is interesting is that when you read the early Lafferty, the closer he comes to what one might consider a normal story, the less successful he is … And Lafferty is something played in an Irish bar on an instrument that you're not quite sure what it is and you're humming the tune but you don't remember the words as you walk out.
 * Neil Gaiman in The Neil Gaiman Reader (2006), p. 185

 * It all goes back to Neil Gaiman. In the foreword to “Fragile Things,” he wrote that his short story “Sunbird” was his way of trying to write his own R.A. Lafferty story. So I found “Nine Hundred Grandmothers,” and it’s like nothing I’ve ever read before. It’s very blue-collar science fiction – all the familiar tropes of people going to outer space and to other planets. It’s hilarious, incredibly funny and at the same time it’s insanely dark. You get the feeling like it’s a guy just writing to amuse himself: “I don’t care if any of this makes sense, but I want to see weird stuff happen.” One of his stories starts off, “He began by breaking things that morning.” There’s a short story called “Ginny Wrapped in the Sun,” and it’s just about this little girl who’s super strong, running around, picking things up. You get such a sense of joy and boundless imagination in every sentence – even if the story doesn’t totally cohere, you feel like it’s about something. It’s so incredibly Tulsa. You get that feeling when you see a Flaming Lips show. It’s not like we’re dark and hurt and twisted. It’s like, "I’ve got blood on my face – come on, y’all, this is awesome."
 * Bill Hader, Saturday Night Live comedian, in a review of Nine Hundred Grandmothers in "‘It’s So Incredibly Tulsa’: Bill Hader’s Book Picks" in The New York Times (31 January 2008)

 * [In these stories, Lafferty mostly] seems to be writing about places that are not on the map but are real just the same. Lafferty was a traveler in his youth, and he may have glimpsed some of these places on the watery horizon; whether he was sober at the time is not the issue right now. … [Lafferty] has a reading knowledge of all the languages of the Latin, German, and Slavic families, as well as Gaelic and Greek. The army sent him to Morotai, New Guinea and the Philippines, and at one time he could speak pretty good Passar Malay and Tagalog. He turned to writing about six years ago, as a substitute for serious drinking. The tavernkeepers weep while we rejoice: Lafferty's stories are full of a warm, Bacchic glow, recollected in sobriety — euphoria, comradeship, nostalgia, and the ever-renewed belief that something wonderful may happen.
 * Damon Knight, in the introduction to Lafferty in Orbit (1991)

 * The works of R. A. Lafferty (1914-2002) are not too far out be reviewed by an ordinary human being. However, one must reach into an awkwardly positioned dimension to lay hold of them.
 * John J. Reilly in a review of The Flame is Green

 * One of the things I loved about collaborating with Nick was that he was like R. A. Lafferty. Remember those old books for science fiction beginners, the ones that said “If you like Asimov, read Clement” or “If you like Sheckley, read Tenn”? And then you’d come to “If you like Lafferty, buy everything of his you can find before no one writes or thinks remotely like him.”
 * Mike Resnick, "My Gang of 42"

 * [R. A. Lafferty] has to be the maddest, the most colorful, the most unexpected writer alive.
 * Theodore Sturgeon, quoted in the first edition of Does Anyone Else Have Something Further to Add?

 * R. A. Lafferty is unique, in the old, unspoiled sense of the word. A genius as wild and joyful, delightful and unpredictable as his comes along but once in a lifetime — this lifetime. Cherish him. If there were no Lafferty, we would lack the imagination to invent him.
 * Michael Swanwick, quoted in the first edition of Lafferty in Orbit (1991)

 * It's an American classic.
 * Voice Literary Supplement on Okla Hannali

 * Lafferty deliberately creates the mythic effect through a technique I call effective arcanum, and that rather than examining his work with the conventional tools of science fiction criticism, we need to examine his system — firstly for our pleasure, and secondly so that we may re-create it (because the sign of an authentic religo-magical system is the power of the followers to reproduce the results).
 * Don Webb, in "R. A. Lafferty: Effective Arcanum" at Revolution Science Fiction

 * Those individuals looking from within the SF world may lack, or simply disdain, the linguistic and critical skills needed to begin to reveal that in Lafferty's work there is much more going on than meets the eye. The brave individuals who have attempted to do so have either merely produced fulsome praise or attempted to classify Lafferty's writings on the basis of superficialities (i.e., calling him a surrealist). Lafferty's use of displacement is not unique, but so few writers have consciously attempted the process, and their works are so varied, that there are no unifying articles, no language for the critic with a day job to draw on. Some bright lad or lass (with the appropriate dignifying letters following their names) may read this and look for the method of displacement in H. P. Lovecraft, James Joyce, Robert Pinget, Gilbert Sorrentino, Flann O'Brien, R. A. Lafferty, Howard Waldrop, and R. A. Wilson. Now there's a book worth reading. The astute observer will note that all the names on the list are Irish, saving those which are not.
 * Don Webb, in "R. A. Lafferty: Effective Arcanum" at Revolution Science Fiction

 * What special magic does Lafferty offer? The simple answer has always been his use of language. Well what of it — the field has many who can make a phrase sing or sing a phrase that's the thing. The true answer lies in that his stories sound like they're folk tales. Now I said something very precise there. Lafferty doesn't use the language of folktales, and only rarely uses their rhythm. But he lives so well within the language of his creation that his language — particularly in the combination of slightly archaic folk speech and outrageous etymologies for his words — sounds like language that some one has said somewhere. Yevgeny Zamyatin developed the concept of a "prose foot" as way of internal pacing of fiction. He saw it as a kind of rhythmic device that by causing the reader to remember an earlier part of the narrative became a force for a choral (as in pertaining to choruses) cohesion that bound the story together in a different way than plot mechanics. This method, which I can't detect in Zamyatin's works (since Russian is Greek to me) is the core of Lafferty's work. He has has invented the post-modern equivalent of the Homeric epithet.
 * Don Webb

 * No true reader who has read as much as a single story by Raphael Aloysius Lafferty needs to be told that he is our most original writer. … Just about everything Lafferty writes is fun, is witty, is entertaining and playful. But it is not easy, for it is a mingling of allegory with myth, and of both with something more ... In fact, he may not be just ours, but the most original writer in the history of literature.
 * Gene Wolfe, in the introduction to Episodes of the Argo (1990), later published in Castle of Days (1995)

 * Lafferty has the power which sets fire behind your eyeballs. There is warmth, illumination, and a certain joy attendant upon the experience. He's good.
 * Roger Zelazny, in a cover blurb for Nine Hundred Grandmothers (1970)

title: R. A. Lafferty


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User talk:84.253.221.57

~ Kalki 23:02, 12 August 2006 (UTC)

title: User talk:84.253.221.57


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Talk:R. A. Lafferty

I had meant to begin a page on Lafferty ages ago, but lost track of that intention, and am glad someone finally has. I've only read a few of his stories, including The Devil is Dead, but especially loved Space Chantey, and thought of it as a hilarious and under-appreciated masterpeice. I lost my copy, and have looked for a replacement off and on for years — any quotes from that book would be welcome. In the meantime I think I'll add one that I still remember verbatim (I think): "Wrong Prong, Bong Gong". ~ Kalki 23:29, 12 August 2006 (UTC)

Re quotes from Space Chantey: I may add a few. Although the best or funniest moments in Lafferty are often the product of development gone on for pages or chapters; rather unsuitable for quotation. Also, often Lafferty gets much fun out of sustaining a joke or composing variations on a humorous idea, as it were; often too long for quotation. One has to be careful or he ends up quoting most of what Lafferty wrote...

 * I recently was given the gift of a used copy of Space Chantey — which I first read years ago — and found hilarious — and and I finally added a few choice lines of Lafferty's wit. I believe my original copy was perhaps one of the many books lost to me by fire some years ago — but that is part of another story... ~ Kalki (talk · contributions) 22:35, 10 July 2011 (UTC)

Bold text
All that bold text is ridiculous. I mean it is ridiculous to have it all over. I think the best thing would be to have none of it. It's annoying to read, for a number of reasons that should be obvious.78.27.72.194 17:09, 5 November 2008 (UTC)
 * Slightly modifying a remark I made in 2006: The relatively few occasions it has been an issue it has usually been raised by people who feel nothing should be bolded at all, but that so far, after many years has not been a dominant consensus here, and I have occasionally emphasized that, especially on the larger pages, I find the total lack of bolding to be very aesthetically unappealing and bland. ~ Kalki (talk · contributions) 22:45, 10 July 2011 (UTC)

title: Talk:R. A. Lafferty


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User talk:Boss Gunga

This username has been permanently blocked because of its creation and use by rather repetitious vandal, who seems to have little better to do with their time than to try to be an asinine nuisance to others. ~ Kalki 00:05, 13 August 2006 (UTC)

title: User talk:Boss Gunga