In The Bitcoin Standard, I present the argument that money is always whatever is the hardest thing to make.
— Saifedean Ammous, "Saifedean Ammous: Bitcoin, Anarchy, and Austrian Economics | Lex Fridman Podcast #284"
But even better is the last sentance of the article—"In the back room of the saloon, the man with the ruffled beard was silently picking hieroglyphics out of his whiskers"—which is surely one of the most beguiling, crackpot sentances Crane ever wrote.
— Paul Auster, Burning Boy: The Life and Work of Stephen Crane
Getting your money's worth.
— L*
Simply inflate the WaspOut® Hornet's nest by blowing into the open hole until all the creases are out. If needed, place your finger over the small hole at the bottom of the nest to increase the air pressure.
— WaspOut Hornet's Nest Instructions
HAIR CUTS for everybody IPA
— Name of beer Emily bought
A lot of people bounce off the surface, and some people peel back the layers.
— S*
With a legend at the top that reads, "I'd sell my steps to the grave at ten cents per foot."
— Paul Auster, Burning Boy: The Life and Work of Stephen Crane
Crane lacked Whitman's talent for advertising. The one stunt he came up with, as reported by his Sytacuse classmate Frank Noxon, was to hire four men "to sit all day in front of one another in New York elevated trains, reading and holding up the volume so that passengers would think the metropolis was Maggie-mad."
— Paul Auster, Burning Boy: The Life and Work of Stephen Crane
What it is that matters enough to me.
— BU student
If not for his subsequent work, the Sullivan County cycle would have vanished from human memory, in the same way most writings by most writers have vanished since the begining of time.
— Paul Auster, Burning Boy: The Life and Work of Stephen Crane
Waterfall at Vanderbilt
— @henrynuhn
You're like a rubber ducky, just bringing air in and out.
— Lily
Public speech can have great urgency and intimate import. Yet we know that it was addressed not exactly to us, but to the stranger we were until the moment we happened to be addressed by it.
— Michael Warner, "Publics and Counterpublics (abbreviated version)"
I don’t think he’s as random as he allows himself to appear. I think it’s much more thought through.
— Walter Isaacson's reply to "Musk is famous for trolling, making explosive off-the-cuff remarks and reversing consequential statements. How do you handle that in a long form narrative, knowing that his positions could look very different after publication?," "What Makes Elon Musk Tick?," The New York Times
The main reason we call things one way or another is taxes.
— Papermaking guest
Is this for business?
— Bank teller
On the other hand, though, the enterprise was over, and "whatever works he might afterwords engage in, the great work of his intellectual life was finished."
— Gregory Nobles, John James Audubon: The Nature of the American Woodsman
I can't come back afterwords and, you know, walk down the grocery aisle where ther are 50 different choices for canned peas and not sort of feel that lived tension. That lived tension of the privilage that I have here in the U.S. and then I have a choice about what to do with that privilege, and the last thing I want to do is start, you know, doing stories about dandelions. There's far more imporant things to do on this very limited time that I have on the planet.
— Skye Fitzgerald, "Skye Fitzgerald: Hunger, War, and Human Suffering | Lex Fridman Podcast #278"
We should put their mail in it.
— Lily on someone's birdhouse.
Even when the printed matter in question is fiction, its bibliographical identity is factual or fixed: we trust that any printed matter at hand was published by the publisher indicated, authored by the author named, and addresses a reading public in an edition of like copies. When two people read “the same” book, they can each read different copies and be sure—even unthinkingly so—that they can compare notes. People are “on the same page,” we say, with confident approbation. Certainties like these help make modern texts self-evident, giving them that “air of intrinsic reliability” that today frames print media.
— Lisa Gitelman, "Near Print and Beyond Paper: Knowing by *.pdf," Paper Knowledge