“Government by thugs in the Bloody Centuries gave Barrayar many colorful historical incidents, suitable for high drama. I don't think it's a drama we wish to return to in real life.”

The Insidious Dr. Fu Manchu (1920), ch. ix

Describing The Blitz

Source: The Count of Monte Cristo

1001 quotations to inspire you before you die, Quintessence Editions Ltd., 2016, ISBN 978-1-84403-895-4

Introduction
The Nature of the Physical World (1928)
Context: In physics we have outgrown archer and apple-pie definitions of the fundamental symbols. To a request to explain what an electron really is supposed to be we can only answer, "It is part of the A B C of physics".
The external world of physics has thus become a world of shadows. In removing our illusions we have removed the substance, for indeed we have seen that substance is one of the greatest of our illusions. Later perhaps we may inquire whether in our zeal to cut out all that is unreal we may not have used the knife too ruthlessly. Perhaps, indeed, reality is a child which cannot survive without its nurse illusion. But if so, that is of little concern to the scientist, who has good and sufficient reasons for pursuing his investigations in the world of shadows and is content to leave to the philosopher the determination of its exact status in regard to reality. In the world of physics we watch a shadowgraph performance of the drama of familiar life. The shadow of my elbow rests on the shadow table as the shadow ink flows over the shadow paper. It is all symbolic, and as a symbol the physicist leaves it. Then comes the alchemist Mind who transmutes the symbols. The sparsely spread nuclei of electric force become a tangible solid; their restless agitation becomes the warmth of summer; the octave of aethereal vibrations becomes a gorgeous rainbow. Nor does the alchemy stop here. In the transmuted world new significances arise which are scarcely to be traced in the world of symbols; so that it becomes a world of beauty and purpose — and, alas, suffering and evil.
The frank realisation that physical science is concerned with a world of shadows is one of the most significant of recent advances.

Source: 1990s and beyond, The Book of Probes : Marshall McLuhan (2011), p. 275

Narration for Crash! (1971), a short film by Harley Cokeliss
Context: I think the key image of the 20th century is the man in the motor car. It sums up everything: the elements of speed, drama, aggression, the junction of advertising and consumer goods with the technological landscape. The sense of violence and desire, power and energy; the shared experience of moving together through an elaborately signalled landscape.
We spend a substantial part of our lives in the motor car, and the experience of driving condenses many of the experiences of being a human being in the 1970s, the marriage of the physical aspects of ourselves with the imaginative and technological aspects of our lives. I think the 20th century reaches its highest expression on the highway. Everything is there: the speed and violence of our age; the strange love affair with the machine, with its own death.

Picture Parade, BBC (5 July 1960)