squawpaws

Squares and Oblongs, in Poets at Work (1948), p. 170

Source: As I Lay Dying

Regarding the Fort Pillow massacre, as quoted in Personal Memoirs, by U.S. Grant, (Library of America, 1990), p. 483.
Context: The river was dyed with the blood of the slaughtered for two hundred yards. The approximate loss was upward of five hundred killed, but few of the officers escaping. My loss was about twenty killed. It is hoped that these facts will demonstrate to the Northern people that Negro soldiers cannot cope with Southerners.

Source: The Turning Point

The Devil's Dictionary (1911)

Source: Discipline and Punish (1977), Chapter Three, The Gentle Way in Punishment
Context: This, then, is how one must imagine the punitive city. At the crossroads, in the gardens, at the side of roads being repaired or bridges built, in workshops open to all, in the depths of mines that may be visited, will be hundreds of tiny theatres of punishment. Each crime will have its law; each criminal his punishment. It will be a visible punishment, a punishment that tells all, that explains, justifies itself, convicts: placards, different-coloured caps bearing inscriptions, posters, symbols, texts read or printed, tirelessly repeat the code. Scenery, perspectives, optical effects, trompe-l’œil sometimes magnify the scene, making it more fearful than it is, but also clearer. From where the public is sitting, it is possible to believe in the existence of certain cruelties which, in fact, do not take place. But the essential point, in all these real or magnified severities, is that they should all, according to a strict economy, teach a lesson: that each punishment should be a fable. And that, in counterpoint with all the direct examples of virtue, one may at each moment encounter, as a living spectacle, the misfortunes of vice. Around each of these moral ‘representations’, schoolchildren will gather with their masters and adults will learn what lessons to teach their offspring. The great terrifying ritual of the public execution gives way, day after day, street after street, to this serious theatre, with its multifarious and persuasive scenes. And popular memory will reproduce in rumour the austere discourse of the law. But perhaps it will be necessary, above these innumerable spectacles and narratives, to place the major sign of punishment for the most terrible of crimes: the keystone of the penal edifice.

Source: The History of Sexuality, Volume 1: An Introduction

As quoted in Saturday Evening Post (27 March 1954); this is a play upon the famous maxim of Clausewitz: "War is the continuation of politics by other means".

Source: The Habit of Being: Letters of Flannery O'Connor

Variant: Be more concerned with your character than your reputation, because your character is what you really are, while your reputation is merely what others think you are.

"What Makes Opera Grand?", Vogue (December 1958)

1870s, Speech before the Pole-Bearers Association (1875)