Category: Lit & Crit
“It’s what musicians do when they don’t know what to do anymore. They take out a wineglass or a handkerchief and try to play their cellos with that. Or they rub a balloon and tell people that this is their new instrument. Or they hang on to the bow and toss the cello, and they play their bow on the radiator or piano or a piece of wood. They make a sliding or scratching sound and this is their new music. Or artists, they do it too. They put away their pads and pull stuff out of the garbage. They’ve been doing that for so long, it’s unnerving—this little segment of the population going around, saying that they see art everywhere: trash bin, mountain, sidewalk, plank, person, disease. Some people find it almost annoying.” – Deb Olin Unferth, “Abandon Normal Instruments”
“Non-existence exists so there is non-existence of existence; non-existence of existence exists so there is non-existence of non-existence.” – Gao Xingjian, Soul Mountain (trans. Mabel Lee)
“Let’s call it love—you don’t deserve it, you’ve known all along, but then somebody as misguided and hopeless as you are shows up and you think: maybe.” – Kimberly King Parsons, “Wisdom to Know the Difference”
“There’s a reason people in foodwork stay up late, drinking and drugging. Your shift ends and hours later you’re still sweating from those burners, amped up and pissed at whichever customer or coworker screwed you the hardest.” – Kimberly King Parsons, “Wisdom to Know the Difference”
“If you think she is beautiful she will be beautiful, if there is evil in your heart you will only see demons.” – Gao Xingjian, Soul Mountain (trans. Mabel Lee)
“Who doesn’t want to go down in the annals of history and moreover be able to draw advance overtime payments as well as a writer’s fee?” – Gao Xingjian, Soul Mountain (trans. Mabel Lee)
“If they understand anything, writers know that the world is not characterized by absolute clarity.” – Ben Yagoda, About Town
“Nuclear energy insists on global government, on law, on order, and on the willingness of the community to take the responsibility for the acts of the individual.” – E. B. White, The New Yorker, August 18, 1945
“The fisherman hauls his nets, tiring his body in the very act of shielding it from starvation; the starving fish takes the bait, its very need for life condemning it to death. Just how much can a man profit in this world; how much can a little fish consume? Each feels the same about existence, each treasures life. Further, the woodsman sweating on the hillside, who returns at evening bearing the north wind at his back, the limping seller plying his trade through the fields, who sets out at dawn through the thick white dew—their work may differ but for all, the sufferings of this life are one.” – Anonymous Monk, “Journey Along the Sea Road” (trans. Meredith McKinney)
“There are no empty hopes. But knowing what to hope for is steady work. What was ever so important to you you left your daily life to heed it?” – Joanna Klink, “The Infinities”
“If you’ve ever been in a fight with someone you love,
each of you holding the pistol of your dignity
to the other’s temple, despite, or maybe
because of, the width and breadth of that love,
which has you pretty sure you’ve been mistaken
for her father, while she’s fairly certain
she’s again found someone like her mother,
so she’s haunted by her blindness, and you’re
sick of her projections, and just as someone’s
about to say the next perfect thing—perfect
for deepening this unfathomable trench—
it might be a good time to get up and leave
saying, ‘I need to check on the cornbread.’ “
– Diana Goetsch, “Whole Lotta Love”
“Intelligence is the ability to solve a problem, to decipher a riddle, to master a set of facts. Judgment is the ability to orbit a problem or a set of facts and see it as it might be seen through other eyes, by observers with different biases, motives, and backgrounds.” – James Comey, A Higher Loyalty
“Modern man is not immoral because he is irreligious; he is irreligious because he is immoral.” Reinhold Niebuhr, Faith and Politics
“There is no female equivalent to the male gaze.” – Diana Goetsch (interviewed by Alan C. Fox and Asha Fox in Rattle 58, Winter 2017)
“Writing isn’t a precious thing and I’m not in eternal search of keeping what I do holy or built up out of shimmering gems. I don’t eat my lunch off a gold plated lunch truck. The great American novel doesn’t know it’s the great American novel until it’s been out almost a hundred years and the woman or man who wrote it is dead. Who cares about the great American novel while we’re in the golden age of TV? Art isn’t something you should protect from yourself. Just run towards it full sprint and embrace how ridiculous your ideas are, how unguarded, how close to something a child might think up, lying on their back in a field overgrown with weeds. The sights and sounds of the rotating world revealing itself to you, or not. Take a sip of black gas station quality coffee, take a bite of fish sandwich, write down the adventures of the day. Every day adds up. Every lunch break is something more than a lunch break.” – Bud Smith, Work
“Choosing the lesser evil
is choosing evil.”
– Behzad Molavi, X
“The most ordinary movements in the world, such as sitting down at a table and pulling the inkstand towards one, may agitate a thousand odd, disconnected fragments, now bright, now dim, hanging and bobbing and dipping and flaunting, like the underlinen of a family of fourteen on a line in a gale of wind. Instead of being a single, downright, bluff piece of work of which no man need feel ashamed, our commonest deeds are set about with a fluttering and flickering of wings, a rising and falling of lights.” – Virginia Woolf, Orlando
“What you hope for, from a person sitting next to you on a train, is that he will be thin and will not smell.” – Lydia Davis, “Excerpts from a 1985 Diary”
“When the Young-Girl has exhausted all artifice, there is one final artifice left for her: the renunciation of artifice. But this last one really is the final one.” – Tiqqun, Preliminary Materials For a Theory of the Young-Girl (emphasis in original)
“The spread of the seduction relation into all social activities signals the death of whatever was still living within it. The spread of simulation is also what renders seduction more and more obviously impossible. Now is the time of the greatest unhappiness, the streets filled with heartless sensualists, seducers mourning for seduction, the corpses of desires nobody knows what to do with.” – Tiqqun, Preliminary Materials For a Theory of the Young-Girl
“In the course of its metastasized development, seduction has lost in intensity what it has gained by extension. Never has amorous discourse been so poor as when everyone made it their duty to intone it and comment upon it.” – Tiqqun, Preliminary Materials For a Theory of the Young-Girl
“Anorexia expresses in women the same aporia that is manifest in men in the form of the pursuit of power: the will to mastery. It is only that, because of the greater severity of the culture’s patriarchal codification upon women, the anorexic brings the will to mastery to bear upon her body, for she cannot bring it to bear on the rest of the world.” – Tiqqun, Preliminary Materials For a Theory of the Young-Girl
“Once the disease of reading has laid hold upon the system it weakens it so that it falls an easy prey to that other scourge which dwells in the ink pot and festers in the quill. The wretch takes to writing. And while this is bad enough in a poor man, whose only property is a chair and table set beneath a leaky roof—for he has not much to lose, after all—the plight of a rich man, who has houses and cattle, maidservants, asses and linen, and yet writes books, is pitiable in the extreme. The flavour of it all goes out of him; he is riddled by hot irons; gnawed by vermin. He would give every penny he has (such is the malignity of the germ) to write one little book and become famous; yet all the gold in Peru will not buy him the treasure of a well-turned line. So he falls into consumption and sickness, blows his brains out, turns his face to the wall. It matters not in what attitude they find him. He has passed through the gates of Death and knows the flames of Hell.” – Virginia Woolf, Orlando
“Green in nature is one thing, green in literature another.” – Virginia Woolf, Orlando
“The Young-Girl privatizes everything she apprehends. Thus, a philosopher is not a philosopher to her, but an extravagant erotic object, and likewise, a revolutionary is not a revolutionary, but costume jewelry.” – Tiqqun, Preliminary Materials For a Theory of the Young-Girl
“The Young-Girl is an instrument in service to a general politics of the extermination of beings capable of love.” – Tiqqun, Preliminary Materials For a Theory of the Young-Girl
“However little we may like it, toughness is the price of survival.” – George Orwell, “The Lion and the Unicorn”
“On the whole, human beings want to be good, but not too good, and not quite all the time.” – George Orwell, “The Art of Donald McGill”
“Codes of law and morals, or religious systems, never have much room in them for a humorous view of life. Whatever is funny is subversive, every joke is ultimately a custard pie, and the reason why so large a proportion of jokes centre round obscenity is simply that all societies, as the price of survival, have to insist on a fairly high standard of sexual morality. A dirty joke is not, of course, a serious attack upon morality, but it is a sort of mental rebellion, a momentary wish that things were otherwise. So also with all other jokes, which always centre round cowardice, laziness, dishonesty or some other quality which society cannot afford to encourage. Society has always to demand a little more from human beings than it will get in practice. It has to demand faultless discipline and self-sacrifice, it must expect its subjects to work hard, pay their taxes, and be faithful to their wives, it must assume that men think it glorious to die on the battlefield and women want to wear themselves out with child-bearing. The whole of what one may call official literature is founded on such assumptions. I never read the proclamations of generals before battle, the speeches of Fuhrers and prime ministers, the solidarity songs of public schools and left-wing political parties, national anthems, Temperance tracts, papal encyclicals and sermons against gambling and contraception, without seeming to hear in the background a chorus of raspberries from all the millions of common men to whom these high sentiments make no appeal. Nevertheless the high sentiments always win in the end, leaders who offer blood, toil, tears and sweat always get more out of their followers than those who offer safety and a good time. When it comes to the pinch, human beings are heroic. Women face childbed and the scrubbing brush, revolutionaries keep their mouths shut in the torture chamber, battleships go down with their guns still firing when their decks are awash. It is only that the other element in man, the lazy, cowardly, debt-bilking adulterer who is inside all of us, can never be suppressed altogether and needs a hearing occasionally.” – George Orwell, “The Art of Donald McGill”
“The Don Quixote-Sancho Panza combination, which of course is simply the ancient dualism of body and soul in fiction form, recurs more frequently in the literature of the last four hundred years than can be explained by mere imitation. It comes up again and again, in endless variations, Bouvard and Pecuchet, Jeeves and Wooster, Bloom and Dedalus, Holmes and Watson (the Holmes-Watson variant is an exceptionally subtle one, because the usual physical characteristics of two partners have been transposed). Evidently it corresponds to something enduring in our civilization, not in the sense that either character is to be found in a ‘pure’ state in real life, but in the sense that the two principles, noble folly and base wisdom, exist side by side in nearly every human being. If you look into your own mind, which are you, Don Quixote or Sancho Panza? Almost certainly you are both. There is one part of you that wishes to be a hero or a saint, but another part of you is a little fat man who sees very clearly the advantages of staying alive with a whole skin. He is your unofficial self, the voice of the belly protesting against the soul. His tastes lie towards safety, soft beds, no work, pots of beer and women with ‘voluptuous’ figures. He it is who punctures your fine attitudes and urges you to look after Number One, to be unfaithful to your wife, to bilk your debts, and so on and so forth. Whether you allow yourself to be influenced by him is a different question. But it is simply a lie to say that he is not part of you, just as it is a lie to say that Don Quixote is not part of you either, though most of what is said and written consists of one lie or the other, usually the first.” – George Orwell, “The Art of Donald McGill”