“Sometimes you’re lucky and sometimes you’re not. Any biography is chance, and, beginning at conception, chance—the tyranny of contingency—is everything.” – Philip Roth, Nemesis
Category: Lit & Crit
“I am no such pil’d cynique to believe that beggery is the onely happinesse, or, with a number of these patient fooles, to sing, ‘My minde to me a kingdoms is,’ when the lanke hungrie belly barkes for foode.” – Ben Jonson, Every Man out of his Humour
“The less fear the better. Fear unmans us. Fear degrades us.” – Philip Roth, Nemesis
“The effective half-life of evil is always relatively short.” – Stephen King, The Stand
“But if there be no great philosophic idea, if, for the time being, mankind, instead of going through a period of growth, is going through a corresponding process of decay and decomposition from some old, fulfilled, obsolete idea, then what is the good of educating? Decay and decomposition will take their own way. It is impossible to educate for this end, impossible to teach the world how to die away from its achieved, nullified form. The autumn must take place in every individual soul, as well as in all the people, all must die, individually and socially. But education is a process of striving to a new, unanimous being, a whole organic form. But when winter has set in, when the frosts are strangling the leaves off the trees and the birds are silent knots of darkness, how can there be a unanimous movement towards a whole summer of fluorescence? There can be none of this, only submission to the death of this nature, in the winter that has come upon mankind, and a cherishing of the unknown that is unknown for many a day yet, buds that may not open till a far off season comes, when the season of death has passed away.” – D. H. Lawrence, Women in Love
“Modernity has not turned out altogether well. To the pioneers of Enlightenment, it appeared that false certainties and artificial hierarchies were the chief obstacles to general happiness. To many the suspicion has by now occurred that there are no true certainties and no natural hierarchies, yet also that individual and social well-being require some certainties, some hierarchies. The rapid increase in mobility and choice, in sheer volume of stimuli that followed the erosion of traditional ways of life and thought has taxed, and occasionally overwhelmed, nearly every modern man or woman. This no longer seems, even to the most optimistic partisans of modernity, merely a phenomenon of transition. It may be that just as in any generation there are broad limits to physical and intellectual development, so also there are psychological limits, which likewise alter slowly. ‘Human nature,’ in short, though in an empirical rather than a metaphysical sense; not eternal and immutable, but with enough continuity – inertia, to be precise – to generate illusions of essence and a need for roots.” – George Scialabba, “Demos and Sophia: Not a Love Story”
“None of us want to see portents and omens, no matter how much we like our ghost stories and the spooky films. None of us want to really see a Star in the East or a pillar of fire by night. We want peace and rationality and routine.” – Stephen King, The Stand (emphasis in original)
“The culture of professionalism and expertise, the bureaucratization of opinion and taste, are not merely mechanisms of social control or a failure of nerve. They are also in part a response to genuine intellectual progress. There’s more to know now than in the ‘30s, and more people have joined the conversation. Perhaps the disappearance of the public intellectual and the eclipse of the classical ideals of wisdom as catholicity of understanding and of citizenship as the capacity to discuss all public affairs are evidences of cultural maturity. Intellectual wholeness is an almost irresistibly attractive ideal; but nowadays too determined a pursuit of it must end in fragmentation and superficiality.” – George Scialabba, “The Sealed Envelope”
“The beginning of political decency and rationality is to recognize others’ similarity in important respects to oneself; that is, to identify imaginatively. Which is what one does when reading fiction. Literature is, in this sense, practice for civic life.” – George Scialabba, “The Sealed Envelope”
“Time past was time past. You just couldn’t get hold of the things you had done and turn them right again. Such power might be given to the gods, but it was not given to men and women, and that was probably a good thing. Had it been otherwise, people would probably die of old age still trying to rewrite their teens.” – Stephen King, The Stand
“Thought is the enemy of flow.” – Vinnie Colaiuta (quoted by Rick Beato in “Why Jeff Beck is Uncopyable”)
“If you can’t afford a movie, go to the zoo. If you can’t afford the zoo, go see a politician.” – Stephen King, The Stand
“The beauty of religious mania is that it has the power to explain everything. Once God (or Satan) is accepted as the first cause of everything which happens in the mortal world, nothing is left to chance . . . or change. Once such incantatory phrases as ‘we see now through a glass darkly’ and ‘mysterious are the ways He chooses His wonders to perform’ are mastered, logic can be happily tossed out the window. Religious mania is one of the few infallible ways of responding to the world’s vagaries, because it totally eliminates pure accident. To the true religious maniac, it’s all on purpose.” – Stephen King, The Stand (emphasis in original)
“Not ‘Forgive us our sins’ but ‘Smite us for our iniquities’ should be the prayer of man to a most just God.” – Oscar Wilde, The Picture of Dorian Gray
“The books that the world calls immoral are books that show the world its own shame. That is all.” – Oscar Wilde, The Picture of Dorian Gray
“Anybody can be good in the country. There are no temptations there. That is the reason why people who live out of town are so absolutely uncivilized. Civilization is not by any means an easy thing to attain to. There are only two ways by which man can reach it. One is by being cultured, the other by being corrupt. Country people have no opportunity of being either, so they stagnate.” – Oscar Wilde, The Picture of Dorian Gray
“Actual life was chaos, but there was something terribly logical in the imagination. It was the imagination that set remorse to dog the feet of sin. It was the imagination that made each crime bear its misshapen brood. In the common world of fact the wicked were not punished, nor the good rewarded. Success was given to the strong, failure thrust upon the weak. That was all.” – Oscar Wilde, The Picture of Dorian Gray
“One’s days were too brief to take the burden of another’s errors on one’s shoulders. Each man lived his own life and paid his own price for living it. The only pity was one had to pay so often for a single fault. One had to pay over and over again, indeed. In her dealings with man, destiny never closed her accounts.” – Oscar Wilde, The Picture of Dorian Gray
“When a woman marries again, it is because she detested her first husband. When a man marries again, it is because he adored his first wife. Women try their luck; men risk theirs.” – Oscar Wilde, The Picture of Dorian Gray
“Good resolutions are useless attempts to interfere with scientific laws. Their origin is pure vanity. Their result is absolutely nil. They give us, now and then, some of those luxurious sterile emotions that have a certain charm for the weak. That is all that can be said for them. They are simply cheques that men draw on a bank where they have no account.” – Oscar Wilde, The Picture of Dorian Gray
“The real tragedy of the poor is that they can afford nothing but self-denial.” – Oscar Wilde, The Picture of Dorian Gray
“It was the passions about whose origin we deceived ourselves that tyrannized most strongly over us. Our weakest motives were those of whose nature we were conscious.” – Oscar Wilde, The Picture of Dorian Gray
“Men marry because they are tired; women, because they are curious: both are disappointed.” – Oscar Wilde, The Picture of Dorian Gray
“If a man is a gentleman, he knows quite enough, and if he is not a gentleman, whatever he knows is bad for him.” – Oscar Wilde, The Picture of Dorian Gray
“Young men want to be faithful, and are not; old men want to be faithless, and cannot.” – Oscar Wilde, The Picture of Dorian Gray
“It is a sad thing to think of, but there is no doubt that genius lasts longer than beauty. That accounts for the fact that we all take such pains to over-educate ourselves. In the wild struggle for existence, we want to have something that endures, and so we fill our minds with rubbish and facts, in the silly hope of keeping our place. The thoroughly well-informed man—that is the modern ideal. And the mind of the thoroughly well-informed man is a dreadful thing. It is like a bric-a-brac shop, all monsters and dust, with everything priced above its proper value.” – Oscar Wilde, The Picture of Dorian Gray
“The one charm of marriage is that it makes a life of deception absolutely necessary for both parties.” – Oscar Wilde, The Picture of Dorian Gray
“There is a fatality about all physical and intellectual distinction, the sort of fatality that seems to dog through history the faltering steps of kings. It is better not to be different from one’s fellows. The ugly and the stupid have the best of it in this world.” – Oscar Wilde, The Picture of Dorian Gray
“Beauty, real beauty, ends where an intellectual expression begins. Intellect is in itself a mode of exaggeration, and destroys the harmony of any face. The moment one sits down to think, one becomes all nose, or all forehead, or something horrid. Look at the successful men in any of the learned professions. How perfectly hideous they are! Except, of course, in the Church. But then in the Church they don’t think. A bishop keeps on saying at the age of eighty what he was told to say when he was a boy of eighteen, and as a natural consequence he always looks absolutely delightful.” – Oscar Wilde, The Picture of Dorian Gray
“The moral life of man forms part of the subject-matter of the artist, but the morality of art consists in the perfect use of an imperfect medium. No artist desires to prove anything. Even things that are true can be proved. No artist has ethical sympathies. An ethical sympathy in an artist is an unpardonable mannerism of style. No artist is ever morbid. The artist can express everything. Thought and language are to the artist instruments of an art. Vice and virtue are to the artist materials for an art. From the point of view of form, the type of all the arts is the art of the musician. From the point of view of feeling, the actor’s craft is the type. All art is at once surface and symbol. Those who go beneath the surface do so at their peril. Those who read the symbol do so at their peril. It is the spectator, and not life, that art really mirrors. Diversity of opinion about a work of art shows that the work is new, complex, and vital. When critics disagree, the artist is in accord with himself. We can forgive a man for making a useful thing as long as he does not admire it. The only excuse for making a useless thing is that one admires it intensely. All art is quite useless.” – Oscar Wilde, The Picture of Dorian Gray