Quotes by Critics - Page 48

And every year there is a brief, startling moment When we pause in the middle of a long walk home and Suddenly feel something invisible and weightless Touching our shoulders, sweeping down from the air: It is the autumn wind pressing against our bodies; It is the changing light of fall falling on us.

The art of conversation is the art of hearing as well as of being heard.

For Art alone is great:The bust survives the state, The crown the potentate.

We sleep peaceably in our beds at night only because rough men stand ready to do violence on our behalf"--Opening to "My Father's Son," attributed to George Orwell

I couldn't claim that I have never felt the urge to explore evil but when you descend into hell you have to be very careful.

For the artist himself art is not necessarily therapeutic; he is not automatically relieved of his fantasies by expressing them. Instead, by some perverse logic of creation, the act of formal expressions may simply make the dredged-up material more readily available to him.

The best way to keep children home is to make the home atmosphere pleasant - and let the air out of the tires.

I don't know," she said. "We used to squabble a lot when we were going together and then engaged and everything, but I thought everything would be so different as soon as you were married. And now I feel so sort of strange and everything. I feel so sort of alone.

Well, what do they all amount to, these kings and captains and bishops and lawyers and such like? They just leave you in the ditch to bleed to death; and the next thing is, you meet them down there, for all the airs they give themselves.

When you hear a true story, there is a part of you that responds to it regardless of art, regardless of evidence. Let it be the most obvious fabrication and you will still believe whatever truth is in it, because you can not deny truth no matter how shabbily it is dressed.

What you are to do without me I cannot imagine.

When you have faith in something a lot of other people believe then you a member of the church" said Ceas, "When you have faith in something nobody believes, then you a complete wacko

Human beings are free except when humanity needs them. Maybe humanity needs you. To do something. Maybe humanity needs me—to find out what you're good for. We might both do despicable things, Ender, but if humankind survives, then we were good tools.

Crisis – the midwife of capitalism. The ‘advisers’ arrive and say, My god, they have no predatory class here. It is an emergency! We must create one immediately. Let us arrange to give everything to a few crooks. Then this country, too, will have a mess of parasites to rule it, to suck the value of the people’s labour.

[Sylvia Plath] was now far along a peculiarly solitary road on which not many would risk following her. So it was important for her to know that her messages were coming back clear and strong. Yet not even her determinedly bright self-reliance could disguise the loneliness that came from her almost palpably, like a heat haze. She asked for neither sympathy nor help but, like bereaved widow at a wake, she simply wanted company in her mourning.

America didn’t bypass or escape civilization. It did something far more profound, far cleverer: it simply changed what civilization could be.

And why do you imagine that we bring people to this place?’ ‘To make them confess.’ ‘No, that is not the reason. Try again.’ ‘To punish them.’ ‘No!’ exclaimed O’Brien. His voice had changed extraordinarily, and his face had suddenly become both stern and animated. ‘No! Not merely to extract your confession, not to punish you. Shall I tell you why we have brought you here? To cure you! To make you sane! Will you understand, Winston, that no one whom we bring to this place ever leaves our hands uncured? We are not interested in those stupid crimes that you have committed. The Party is not interested in the overt act: the thought is all we care about. We do not merely destroy our enemies, we change them. Do you understand what I mean by that?

She went downstairs slowly and sat in front of the fire, rocking herself to and fro as she imagined all of the harm he might have suffered: she could see him enticed into a car by a stranger, she could see him knocked down by a lorry in the road, she could see him falling into the Thames and being carried away by the tide. It was her instinctive belief, however, that if she dwelled upon such scenes in sufficient detail she could prevent them from occurring: anxiety was, for her, a form of prayer. And then she spoke his name aloud, as if she were able to conjure him into existence.

All that evening he talked to the Candle of Arras, in a low confidential tone. When you get down to it, he thought, there's not much difference between politics and sex; it's all aboutpower. He didn't suppose he was the first person in the world to make this observation. It's a question of seduction, and how fast and cheap you can effect it: if Camille, he thought, approximates to one of those little milliners who can't make ends meet - in other words, an absolute pushover - then Robespierre is a Carmelite, mind set on becoming Mother Superior. You can't corrupt her; you can wave your cock under her nose, and she's neither shocked nor interested: why should she be, when she hasn't the remotest ideawhat it's for?

Democracy is a pathetic belief in the collective wisdom of individual ignorance. No one in this world, so far as I know—and I have researched the records for years, and employed agents to help me—has ever lost money by underestimating the intelligence of the great masses of the plain people. Nor has anyone ever lost public office thereby.

There is a predictable interlude when the rivals suddenly come together and speak for a second of their common loneliness, thus tritely demonstrating that we really are all the same, though I can't think of any really first-rate film, play, or book that isn't unconsciously dedicated to the fact that we are all inconsolably different.

We must have sinned greatly, at some juncture long buried in our protozoic past, to deserve such a universe

Analysis goes a step farther still, and assures us that those impressions of the individual mind to which, for each one of us, experience dwindles down, are in perpetual flight; that each of them is limited by time, and that as time is infinitely divisible, each of them is infinitely divisible also; all that is actual in it being a single moment, gone while we try to apprehend it, of which it may ever be more truly said that it has ceased to be than that it is. To such a tremulous wisp constantly reforming itself on the stream, to a single sharp impression, with a sense in it, a relic more or less fleeting, of such moments gone by, what is real in our life fines itself down.

Everyone was always in such a rush to shoot forward that they never took the time to look back. Which was a mistake. If you wanted to avoid snags, kinks, knots, and cuts, you had to "keep your mind on your line," as the saying went.

Her remark laid bare not only the reality - not enough comic opportunities for women in Hollywood - but also the ideology that created and perpetuated that reality. It was right there in the sentence structure, easily parsed: 'All the scripts are for men and you play 'the girl'' suggests that the scripts were handed down by the clean, white hand of God. It banished 'the girl' to the sidelines to perform her girly insignificance on command. It was right there in the dismissive way her comment was received as clickbait all over the Internet. 'Borat's Babe Plans a Hollywood Sex Revolution,' one headline announced, not only missing the point but mocking and dismissing it. Women's experience in its entirety seemed contained in that remark, not to mention several of the stages of feminist grief: the shock of waking up to the fact that the world does not also belong to you; the shame at having been so naive as to have thought it did; the indignation, depression, and despair that follow this realization; and, finally, the marshaling of the handy coping mechanisms, compartmentalization, pragmatism, and diminished expectations.

...You believe that the kind of story you want to tell might be best received by the science fiction and fantasy audience. I hope you're right, because in many ways this is the best audience in the world to write for. They're open-minded and intelligent. They want to think as well as feel, understand as well as dream. Above all, they want to be led into places that no one has ever visited before. It's a privilege to tell stories to these readers, and an honour when they applaud the tale you tell.

There is no love sincerer than the love of food.

It had to be a trick or you couldn't have done it.

Tinkling sounds came from outside, of hammering and chiselling, as labourers worked like bees, and seven- or eight-storeyed buildings rose in the place of ancestral mansions that had been razed cruelly to the ground, climbing up like ladders through screens of dust. An old mansion opposite the veranda had been repainted white, to its last banister and pillar, so that it looked like a set of new teeth. ... In another sphere altogether, birds took off from a tree or parapet, or the roof of some rich Marwari’s house, startling and speckling the neutral sky. Not a moment was still or like another moment. In a window in a servants’ outhouse attached to a mansion – both the master’s house and the servants’ lost in a bond now anachronistic and buried – a light shone even at this time of the day, beacon of winter.

The mystery of death, the riddle of how you could speak to someone and see them every day and then never again, was so impossible to fathom that of course we kept trying to figure it out, even when we were unconscious.

I hate American simplicity. I glory in the piling up of complications of every sort. If I could pronounce the name James in any different or more elaborate way I should be in favour of doing it.

I eat you, life; you make me living eat.

Well, suppose we remain upon earth, after all? Suppose we bravely accept the death of our dreams at the same time as the death of our bodies? This beyond is decidedly uncertain, quite vague and mobile. I do not believe that it exists everywhere; I believe that it is nowhere except in our infantile imaginations. Born with us, it will end at the same moment that we do, to be born anew in our posterity. The beyond is the earthly tomorrow, as we bequeath it to our heirs and as they modify it by their efforts and in accordance with their tastes.

... those sectaries in Europe who are always expecting the end of the world, but who hope that, after the earth has been consumed by fire, they will be seated in glory: grilled a little, crisp at the edges and blackened in parts, but still, thanks be to God, alive for eternity, and seated at his right hand.

In the first play, the crisis is Thomas More. In the second it’s Anne Boleyn. In the third book, and the third play, it’s crisis every day, an overlapping series of only just negotiable horrors. It’s climbing and climbing. Then a sudden abrupt fall - within days.

I would follow such beauty, said something inside Ender. I would see as those eyes see.

The lawyer's world is entire unto itself, the human pared away.

Good novel are written by people who are not frightened.

One of the most irrational of all the conventions of modern society is the one to the effect that religious opinions should be respected. …[This] convention protects them, and so they proceed with their blather unwhipped and almost unmolested, to the great damage of common sense and common decency. that they should have this immunity is an outrage. There is nothing in religious ideas, as a class, to lift them above other ideas. On the contrary, they are always dubious and often quite silly. Nor is there any visible intellectual dignity in theologians. Few of them know anything that is worth knowing, and not many of them are even honest.

O’Brien: How does one man assert his power over another, Winston?Winston: By making him suffer.O’Brien: Exactly. By making him suffer. Obedience is not enough. Unless he is suffering, how can you be sure that he is obeying your will and not his own? Power is in inflicting pain and humiliation. Power is in tearing human minds to pieces and putting them together again in new shapes of your own choosing. Do you begin to see, then, what kind of world we are creating? It is the exact opposite of the stupid hedonistic Utopias that the old reformers imagined. A world of fear and treachery and torment, a world of trampling and being trampled upon, a world which will grow not less but MORE merciless as it refines itself. Progress in our world will be progress towards more pain. The old civilizations claimed that they were founded on love or justice. Ours is founded upon hatred.

Not only are selves conditional but they die. Each day, we wake slightly altered, and the person we were yesterday is dead. So why, one could say, be afraid of death, when death comes all the time?

A life spent making mistakes is not only more honorable but more useful than a life spent doing nothing.

Villon our sad bad glad mad brother's name.

I once saw a small child go to an electric light switch as say, "Mamma, can I open the light?" She was using the age-old language of exploration, the language of art. It was a sort of metaphor, but she was not using it as ornamentation.

It’s not the word made flesh we want in writing, in poetry and fiction, but the flesh made word

I thought: hope cannot be said to exist, nor can it be said not to exist. It is just like roads across the earth. For actually the earth had no roads to begin with, but when many men pass one way, a road is made.

But before any of the small appliances who may be listening to this tale should begin to think that they might do the same thing, let them be warned: ELECTRICITY IS VERY DANGEROUS. Never play with old batteries! Never put your plug in a strange socket! And if you are in any doubt about the voltage of the current where you are living, ask a major appliance.

Mozart's music gives us permission to live.

That's why he hates you, because you didn't suffer when he tried to punish you.

If writers only dared to dare, a Suetonius or a Tacitus of the Novel could exist, for the Novel is essentially the history of manners, turned into a story and a play, as is History itself often enough. And there is no other difference than this: that the one, the Novel, cloaks its manners under the disguise of invented characters, while the other, History, provides names and addresses. Only, the Novel probes much deeper than history. It has an ideal, and History has none; it is limited by reality. The Novel also holds the stage much longer. ("A Woman's Vengeance")

Keynes was a voracious reader. He had what he called ‘one of the best of all gifts – the eye which can pick up the print effortlessly’. If one was to be a good reader, that is to read as easily as one breathed, practice was needed. ‘I read the newspapers because they’re mostly trash,’ he said in 1936. ‘Newspapers are good practice in learning how to skip; and, if he is not to lose his time, every serious reader must have this art.’ Travelling by train from New York to Washington in 1943, Keynes awed his fellow passengers by the speed with which he devoured newspapers and periodicals as well as discussing modern art, the desolate American landscape and the absence of birds compared with English countryside.54‘As a general rule,’ Keynes propounded as an undergraduate, ‘I hate books that end badly; I always want the characters to be happy.’ Thirty years later he deplored contemporary novels as ‘heavy-going’, with ‘such misunderstood, mishandled, misshapen, such muddled handling of human hopes’. Self-indulgent regrets, defeatism, railing against fate, gloom about future prospects: all these were anathema to Keynes in literature as in life. The modern classic he recommended in 1936 was Forster’s A Room with a View, which had been published nearly thirty years earlier. He was, however, grateful for the ‘perfect relaxation’ provided by those ‘unpretending, workmanlike, ingenious, abundant, delightful heaven-sent entertainers’, Agatha Christie, Edgar Wallace and P. G. Wodehouse. ‘There is a great purity in these writers, a remarkable absence of falsity and fudge, so that they live and move, serene, Olympian and aloof, free from any pretended contact with the realities of life.’ Keynes preferred memoirs as ‘more agreeable and amusing, so much more touching, bringing so much more of the pattern of life, than … the daydreams of a nervous wreck, which is the average modern novel’. He loved good theatre, settling into his seat at the first night of a production of Turgenev’s A Month in the Country with a blissful sigh and the words, ‘Ah! this is the loveliest play in all the world.’55Rather as Keynes was a grabby eater, with table-manners that offended Norton and other Bloomsbury groupers, so he could be impatient to reach the end of books. In the inter-war period publishers used to have a ‘gathering’ of eight or sixteen pages at the back of their volumes to publicize their other books-in-print. He excised these advertisements while reading a book, so that as he turned a page he could always see how far he must go before finishing.A reader, said Keynes, should approach books ‘with all his senses; he should know their touch and their smell. He should learn how to take them in his hands, rustle their pages and reach in a few seconds a first intuitive impression of what they contain. He should … have touched many thousands, at least ten times as many as he reads. He should cast an eye over books as a shepherd over sheep, and judge them with the rapid, searching glance with which a cattle-dealer eyes cattle.’ Keynes in 1927 reproached his fellow countrymen for their low expenditure in bookshops. ‘How many people spend even £10 a year on books? How many spend 1 per cent of their incomes? To buy a book ought to be felt not as an extravagance, but as a good deed, a social duty which blesses him who does it.’ He wished to muster ‘a mighty army … of Bookworms, pledged to spend £10 a year on books, and, in the higher ranks of the Brotherhood, to buy a book a week’. Keynes was a votary of good bookshops, whether their stock was new or second-hand. ‘A bookshop is not like a railway booking-office which one approaches knowing what one wants. One should enter it vaguely, almost in a dream, and allow what is there freely to attract and influence the eye. To walk the rounds of the bookshops, dipping in as curiosity dictates, should be an afternoon’s entertainment.

J'ai cueilli ce brin de bruyèreL'automne est morte souviens-t'enNous ne nous verrons plus sur terreOdeur du temps brin de bruyèreEt souviens-toi que je t'attends

One of the grubby truths about a loss is that you don't just mourn the dead person, you mourn the person you got to be when the lost one was alive. This loss might even be what affects you the most.

Given Loughner's obsession with meaninglessness and language, maybe Foucault & Derrida deserve some fault here, too.

The gardener is the quintessential optimist: not only does he believe that the future will bear out the fruits of his efforts, he believes in the future.

You'll never have a quiet world till you knock the patriotism out of the human race.

Everyone has the best of feelings towards mankind in general, but not towards the individual man. We'll kill men, but we want to save mankind. And that isn't right, your Reverence. The world will be an evil place as long as people don't believe in other people.

I am a Millionaire. That is my religion.

No matter how happily a woman may be married, it always pleases her to discover that there is a nice man who wishes that she were not.

I do not wish to comment on the work; if it does not speak for itself, it is a failure.