Imagination and Reality Quotes

Your eyes wider than distance, this life is sweeter than fiction.

The imagination loses vitality as it ceases to adhere to what is real. When it adheres to the unreal and intensifies what is unreal, while its first effect may be extraordinary, that effect is the maximum effect that it will ever have.

The really great writers are people like Emily Bronte who sit in a room and write out of their limited experience and unlimited imagination.

There are some themes, some subjects, too large for adult fiction; they can only be dealt with adequately in a children's book.

A novelist has two lives-- a reading and writing life, and a lived life. he or she cannot be understood at all apart from this.

I like nonsense, it wakes up the brain cells. Fantasy is a necessary ingredient in living.

The debt we owe to the play of imagination is incalculable.

Acting is an expression of imagination. No firsthand knowledge is necessary.

I believe in imagination. I did Kramer vs. Kramer before I had children. But the mother I would be was already inside me.

Sometimes a novelist can get closer to the truth than the historian can.

People who read are people who dream, and we connect through the stories we live and tell and read.

Fantasy works inwards upon its author, blurring the boundary between the visioned and the actual, and associating itself ever moreclosely with the Ego, so that the child who has fantasied himself a murderer ends by becoming a Loeb or a Leopold. The creative Imagination works outwards, steadily increasing the gap between the visioned and the actual, till this becomes the great gulf fixed between art and nature. Few writers of crime-stories become murderers--if any do, it is not the result of identifying themselves with their murderous heroes.

So much of what we do as artists is a combination of personal experience and imagination, and how that all creeps into your work is not so linear.

Life, he thought, is a blatant act of imagination.

I'm trying to write poems that involve beginning at a known place, and ending up at a slightly different place. I'm trying to take a little journey from one place to another, and it's usually from a realistic place, to a place in the imagination.

Sometimes I think I might not have written 'The Age of Miracles' if I hadn't grown up in California, if I hadn't been exposed to its very particular blend of beauty and disaster, of danger and denial.

I would designate as science fiction in the best sense: they are visions and anticipations by which we seek to attain a true knowledge, but, in fact, they are only imaginations whereby we seek to draw near to the reality.

I'd always read omnivorously and often thought much literary fiction is read by young men and women in their 20s as substitutes for experience.

The imagination and the place that dreams come from is so huge and so important. I'm trying to write about the real world, in that I'm trying to write about whatever it is the experience that makes us human, the things that we have in common.

I juxtapose and slice up reality and fiction quite easily. I'm aware that it is up for grabs and a powerful tool to explain how we take control.

What I've always been most interested in is exposing the way stories and fantasies reconstitute our everyday reality. What appears to be non-fiction is not only totally mysterious, unfathomable, and strange when you really look at what it is.

I guess just a lively imagination is the best effort an actor can have.

The world is about the way in which our dreams intersect with our real life. Endlessly, the world of the imagination changes the world.

I think in a way, you're doomed, once you can envision something. You're sort of doomed to make it happen. I've found that the moment I can envision leaving a relationship, that's usually the moment that the relationship starts to fall apart.

When you're a little kid, and you're, like, thinking about the Olympics, and you just have this big expectation, it just lived up exactly to that.