“A full apprehension of man’s condition would drive him insane.” — Ernest Becker, The Denial of Death
High Street 2 — “How to Get to High Street” is posted today.
(Tomorrow: High Street 3.1 — “Downhill Racing”)
“All that we can do in the face of that ineluctable defeat called life is to try to understand it.” — Milan Kundera, The Curtain
High Street 1 — “Breaking and Entering” is posted today.
(Tomorrow: High Street 2 — “How to Get to High Street”)
“Man is so constituted that he reserves his strongest curses for the very things that keep him together and keep him alive.” — Thomas Bernhard, Concrete (trans. McLintock)
High Street 0 — “Preface” is posted today, at the top of the sidebar to your left.
(Tomorrow: High Street 1 — “Breaking and Entering”)
“The artist’s effort, always and everywhere, is to attain a fresh mode of cognition.” — Donald Barthelme, “After Joyce” (from Not-Knowing, ed. Herzinger)
“Sometimes I think that there will be a place in the future for a literature the nature of which will singularly resemble that of a sport. Let us subtract, from literary possibilities, everything which today, by the direct expression of things and the direct stimulation of the sensibility by new means–motion pictures, omnipresent music, etc.–is being rendered useless or ineffective for the art of language. Let us also subtract a whole category of subjects–psychological, sociological, etc.–which the growing precision of the sciences will render it difficult to treat freely. There will remain to letters a private domain: that of symbolic expression and of imaginative values due to the free combination of the elements of language.” — Paul Valery (quoted in “After Joyce,” from Not-Knowing, ed. Herzinger)
“Many people actually like reality, and very often choose to live in it.” — Herzinger, Not-Knowing
“A man whose mouth stinks has no mistress; no woman would put up with it; any woman would find a way to let him know he stinks and would force him to rid himself of that fault.” — Milan Kundera, Slowness (trans. Asher)
“People always think that a man’s fortunes are more or less determined by his appearance, by the beauty or ugliness of his face, by his size, by his hair or lack of it. Wrong. It is the voice that decides it all.” — Milan Kundera, Slowness (trans. Asher)
“[Henry] James was the most consummate artist American literature has produced. He was fastidious by nature and by early training. He had studied his art in France as men study sculpture in Italy, and he had learned the French mastery of form. Nowhere in his writings may we find slovenly work. His opening and closing paragraphs are always models, his dialogue moves naturally and inevitably,—in all the story despite its length nothing too much,—and everywhere a brilliancy new in American fiction. He is seldom spontaneous; always is he the conscious artist; always is he intellectual; always is he working in the clay of actual life, a realist who never forgets his problem to soar into the uncharted and the unscientific realms of the metaphysical and the romantic.” — Fred Lewis Pattee (from The Cambridge History of English and American Literature, Vol. XVI, Book III, Part VI., Sec. 9)
“According to [Henry] James, a short story was the analysis of a situation, the psychological phenomena of a group of men and women at an interesting moment. Given two, three, four different temperaments, bring them into a certain situation, and what would be the action and reaction? The story was a problem to be solved. Little was to be said about the characters: they were to reveal themselves, gradually, slowly as they do in actual life, by long continued dialogue, by little unconscious actions and reactions, by personal peculiarities in dress, manners, movement, revealed by a thousand subtle hints, descriptive touches, insinuations. Under such conditions the movement of the story must be slow: in some of his work there seems to be no story at all, only the analysis of a situation. The method requires space: James has stretched the length of the short story to its extreme…. Twenty-eight of the one hundred and three stories in Henry James’s final list are long enough to appear as volumes. Yet one may not doubt they are short stories: they are each of them the presentation of a single situation and they leave each of them a unity of impression.” — Fred Lewis Pattee (from The Cambridge History of English and American Literature, Vol. XVI, Book III, Part VI., Sec. 9 (emphasis in original))
“If a woman tells me: I love you because you’re intelligent, because you’re decent, because you buy me gifts, because you don’t chase women, because you do the dishes, then I’m disappointed; such love seems a rather self-interested business. How much finer it is to hear: I’m crazy about you even though you’re neither intelligent nor decent, even though you’re a liar, and egotist, a bastard.” — Milan Kundera, Slowness (trans. Asher)
“Any new possibility that existence acquires, even the least likely, transforms everything about existence.” — Milan Kundera, Slowness (trans. Asher)
“Hawthorne added soul to the short story and made it a form that could be taken seriously even by those who had contended that it was inferior to the longer forms of fiction. He centred his effort about a single situation and gave to the whole tale unity of impression. Instead of elaboration of detail, suggestion; instead of picturings of external effects, subjective analysis and psychologic delineation of character.” — Fred Lewis Pattee (from The Cambridge History of English and American Literature, Vol. XVI, Book III, Part VI, Sec. 4)
“The source of fear is in the future, and a person freed from the future has nothing to fear.” — Milan Kundera, Slowness (trans. Asher)
“There is a secret bond between slowness and memory, between speed and forgetting. Consider this utterly commonplace situation: a man is walking down the street. At a certain moment, he tries to recall something, but the recollection escapes him. Automatically, he slows down. Meanwhile, a person who wants to forget a disagreeable incident he has just lived through starts unconsciously to speed up his pace, as if he were trying to distance himself from a thing still too close to him in time. In existential mathematics, that experience takes the form of two basic equations: the degree of slowness is directly proportional to the intensity of memory; the degree of speed is directly proportional to the intensity of forgetting.” — Milan Kundera, Slowness (trans. Asher)
“Any idea made public will sooner or later turn on its author and confiscate the pleasure he got from thinking it.” — Milan Kundera, Slowness (trans. Asher)
“Culture is a very fine thing, indeed, but it is never of much account either in life or in literature, unless it is used as a cat uses a mouse, as a source of mirth and luxury.” — Joel Chandler Harris (from The Cambridge History of English and American Literature, Vol. XVI, Book III, Part V., Sec. 2)
“Music is love in search of a word.” — Sidney Lanier (quoted in The Cambridge History of English and American Literature, Vol. XVI, Ch. IV, Sec. 32)
“The moment you believe you are entitled to something is exactly when you are ripe to lose it to someone who is fighting harder.” — Garry Kasparov (quoted in The Most Human Human, by Brian Christian)
“Winning can convince you everything is fine even if you are on the brink of disaster.” — Garry Kasparov (quoted in The Most Human Human, by Brian Christian)
“One of the most dangerous enemies you can face is complacency.” — Garry Kasparov (quoted in The Most Human Human, by Brian Christian)
“Success is the enemy of future success.” — Garry Kasparov (quoted in The Most Human Human, by Brian Christian)
“A durable love is one that’s dynamic, not static; long-running, not long-standing; a river we step into every day and not twice.” — Brian Christian, The Most Human Human (emphasis in original)
“He who cannot draw on three thousand years is living hand to mouth.” — Goethe (quoted in The Most Human Human, by Brian Christian)
“Nothing is more dispiriting than ‘And they all lived happily ever after,’ which means, in information entropy terms, ‘And then nothing interesting or noteworthy ever happened to them again for the rest of their lives.’” — Brian Christian, The Most Human Human
“Our legal system is adversarial, founded, like capitalism, on the idea that a bunch of people trying to tear each other apart, plus certain laws and procedures preventing things from getting too out of hand, will yield, in one, justice, and in the other, prosperity, for all. Sometimes this does happen; other times, it doesn’t. At any rate, it’s a terrible metaphor for the rest of life.”– Brian Christian, The Most Human Human
“We hear communications experts telling us time and again about things like the ‘7-38-55 rule,’ first posited in 1971 by UCLA psychology professor Albert Mehrabian: 55 percent of what you convey when you speak comes from your body language, 38 percent from the tone of your voice, and a paltry 7 percent from the words you choose. Yet it’s that 7 percent that can and will be held against you in a court of law.” — Brian Christian, The Most Human Human
“A great deal of fairly recent developmental psychology and a great deal of research in psychiatry and psychoanalysis and so forth has suggested, at least, that the idea that there would be a true ‘you’ that comes into the world unaffected, unadulterated by the influence of the social environment in which you develop, is a myth. That in fact you are, as it were, socialized from the get-go. So that if you were to peel away the layers of socialization, it’s not as if what would be left over would be the true you. What would be left over would be nothing.” — Bernard Reginster (from The Most Human Human, by Brian Christian)
“You question the assumptions of physics and you end up in metaphysics–a branch of philosophy. You question the assumptions of history and you end up in epistemology–a branch of philosophy. You try to take any other discipline out at the foundations and you end up in philosophy; you try to take philosophy out at the foundations and you only end up in meta-philosophy: even deeper in than when you started.” — Brian Christian, The Most Human Human
“Games have a goal; life doesn’t. Life has no objective. This is what the existentialists call ‘the anxiety of freedom.’ Thus we have an alternate definition of what a game is–anything that provides temporary relief from existential anxiety. This is why games are such a popular form of procrastination. And this is why, on reaching one’s goals, the risk is that the reentry of existential anxiety hits you even before the thrill of victory–you’re thrown immediately back on the uncomfortable question of what to do with your life.” — Brian Christian, The Most Human Human