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Mo: Uh... sorry. I was just wondering why you're... you know... using that if normally you just use crutches.
Thea: Well, the chair is so much more dramatic, don't you think? I use it when I want people to feel extra sorry for me.
--
#124, "...A Rolling Donut" (1991), collected in DTWOF: The Sequel (1992)

 

Alison Bechdel

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“It’s odd to look out there and see a bunch of Mini-Mes,” says Williams. “You’re wondering what possessed them to do such a thing . . . It sort of does a reverse psychology on you. You’d think you’d be like `Hey, all these people want to look like me. I feel pretty cool.’ But actually it makes you feel more self aware and I’m not really fond of that.”

 

Hayley Williams

 

Well I don't know why I came here tonight.
I got the feeling that something ain't right.
I'm so scared in case I fall off my chair,
And I'm wondering how I'll get down the stairs.
Clowns to the left of me,
Jokers to the right, here I am,
Stuck in the middle with you.

 

Gerry Rafferty

 

For the Government, it is quite hard for them to find media faces – to find people to head up campaigns – because they are all so weird-looking, aren't they? They all look like Muppets who have been left too close to a radiator. I don't like to mock the afflicted, but how did anyone know that Willie Whitelaw had had a stroke? What genius spotted that? I mean, with most people it's quite a dramatic change, isn't it? But what happened? Someone thought 'Oh, Willie's dribbled an extra pint today. What's going on? We'll run a few tests'.

 

Linda Smith

 

Shakespeare is the Spinosistic deity — an omnipresent creativeness. Milton is the deity of prescience; he stands ab extra, and drives a fiery chariot and four, making the horses feel the iron curb which holds them in. Shakspeare's poetry is characterless; that is, it does not reflect the individual Shakspeare; but John Milton himself is in every line of the Paradise Lost. Shakspeare's rhymed verses are excessively condensed, — epigrams with the point every where; but in his blank dramatic verse he is diffused, with a linked sweetness long drawn out.

 

Samuel Taylor Coleridge

 

“And what else,” said Morris, with studied casualness, “do they say about this chair?” He did not really have to wait for her reply to know that here, at last, was a prize worthy of his ambition. The UNESCO Chair of Literary Criticism! That had to carry the highest salary in the profession....'Tax free, of course, like all UNESCO salaries.' Duties? Virtually non-existent...It was a purely conceptual chair (except for the stipend)...

 

David Lodge