I don't read thrillers, romance or mystery, and I don't read self-help books because I don't believe in shortcuts and loopholes.
I've never been adamant about joining Twitter; I have nothing against it; I'm not one of those people who hates Twitter. I think it's great for what it is, but right now - I don't know. I just like to keep the mystery.
I do read P.D. James because she pays much more attention to character, to a particular atmosphere or setting. But most mystery writers, I think, are controlled by the plot.
There were screaming girls, I had to learn as a blind person how to run to a limousine otherwise they'd take my clothes off and stuff. I thought to myself 'how could this happen?' I mean I could see it, Frank Sinatra, Elvis Presley, The Beatles, but Jose Feliciano? It was a mystery to me.
It was really in the Golden Age, between the two world wars, when the pure detective story - of which the locked room mystery is really the ultimate form - became popular.
The mystery of film is not in the script. It's in the shooting, in the interacting of humans and space and time.
Mystery has its own mysteries, and there are gods above gods. We have ours, they have theirs. That is what's known as infinity.
I don't know - it's a bit of a mystery of how things come about when they do. I don't have a scientific explanation for it. Sometimes when you're writing a song, you don't know where you're going.
Mystery has its own mysteries, and there are gods above gods. We have ours, they have theirs. That is what's known as infinity.
Of all the logical impasses, unknowings, paradoxes, and terrors that provoke laughter, death by its finality and unsolvable mystery is paramount.
For a rapper as well-known as Drake, there remains an essential element of mystery about him. For one so open, there's a distance, and he prefers it that way. But then there's something beneath the exterior that reveals itself with urgency in conversation: Drake's raw ambition.
Write as precisely and as lucidly and as richly as you can about what you find truly mysterious and irreducible about human experience, and not obscurely about what will prove to be received opinion or cliche once the reader figures out your stylistic conceit. There's all the difference in the world between mystery and mystification.
That sense of mystery, but also of revelation, is what I turn to poems for. They're able to embody experience. We need more and more of that.
Every man is half God, half man; he is both spirit and flesh. That is why the mystery of Christ is not simply a mystery for a particular creed: It is universal.
I think Varga is a manifestation, certainly, and someone who can thrive and profit from the world's failure and has worked out the operation, whatever the operation may be, that he's about, which will remain a mystery.