
In the Puppet Theatre: Roof Gardens, Feathers and Human Sacrifice (p. 80)
The Soul of the Marionette: A Short Enquiry into Human Freedom (2015)
The World Set Free (1914)
Context: Nothing could have been more obvious to the people of the early twentieth century than the rapidity with which war was becoming impossible. And as certainly they did not see it. They did not see it until the atomic bombs burst in their fumbling hands.
In the Puppet Theatre: Roof Gardens, Feathers and Human Sacrifice (p. 80)
The Soul of the Marionette: A Short Enquiry into Human Freedom (2015)
Source: High-Rise (1975), Ch. 3
Context: A new social type was being created by the apartment building, a cool, unemotional personality impervious to the psychological pressures of high-rise life, with minimal needs for privacy, who thrived like an advanced species of machine in the neutral atmosphere... [They] were people who were content with their lives in the high-rise, who felt no personal objection to an impersonal steel and concrete landscape, no qualms about the invasion of their privacy by government agencies and data-processing organizations, and if anything welcomed these invisible intrusions, using them for their own purposes. These people were the first to master a new type of late twentieth-century life, they thrived on the rapid turnover of acquaintances, the lack of involvement with others, and the total self-sufficiency of lives which, needing nothing, were never disappointed.
Source: Art applied to industry: a series of lectures, 1865, p. 9; Partly cited in: The New Encyclopaedia Britannica: Macropaedia (19 v.) Encyclopaedia Britannica, 1983. p. 514
Context: At present the fashion appears to have set in in favour of two very distinct styles. One is a very impure and bastard Italian, which is used in most large secular buildings; and the other is a variety of the architecture of the thirteenth century, often, I am sorry to say, not much purer than its rival, especially in the domestic examples, although its use is principally confined to ecclesiastical edifices. It is needless to say that the details of these two styles are as different from each other as light from darkness, but still we are expected to master both of them. But it is most sincerely to be hoped that in course of time one or both of them will disappear, and that we may get something of our own of which we need not be ashamed. This may, perhaps, take place in the twentieth century, it certainly, as far as I can see, will not occur in the nineteenth.
Conclusion
1880s, Personal Memoirs of General U. S. Grant (1885)
transition [sic] was the avant-garde English-language magazine published in Paris 1927–1938; “A Note on Poetry”, p. 48
Kipling, Auden & Co: Essays and Reviews 1935-1964 (1980)
Mont Saint Michel and Chartres (1904)
Source: Paths to Otherwhere (1996), Ch. 1
Context: Sometimes Hugh Brenner thought he'd been born on the wrong planet. It seemed as obvious as anything could be that people achieved more when they learned to get along than they did when they fought over things. If they put as much time and energy into fixing problems instead of blaming each other for being the problem, there wouldn't be any problems left. So far they'd had two full-dress rehearsals for wiping out what passed as civilization. This time it looked as if things might be leading up to the real performance.
2000s, The Real Abraham Lincoln: A Debate (2002), Q&A