
Source: A Thousand-Mile Walk To the Gulf, 1916, chapter 7: A Sojourn in Cubapage 168, omits the "all". This is a typo: see 1916 edition page 164
Source: The Wilderness World of John Muir
Source: London Perceived (1962), Ch. 5, p. 162
Context: Mass society destroys the things it is told are its inheritance. It is rarely possible to see the Abbey without being surrounded by thousands of tourists from all over the world. Like St. Peter's at Rome, it has been turned into a sinister sort of railway terminal. The aisles are as crowded as the pavements of Oxford Street or the alleys of a large shop, imagination is jostled, awe dispersed, and the mind never at rest. All great things, in our time, can only be seen in fragments, by fragmentary people.
Source: A Thousand-Mile Walk To the Gulf, 1916, chapter 7: A Sojourn in Cubapage 168, omits the "all". This is a typo: see 1916 edition page 164
Source: The Wilderness World of John Muir
The Food of the Gods and How It Came to Earth (1904)
Context: They may fight against greatness in us who are the children of men, but can they conquer? Even if they should destroy us every one, what then? Would it save them? No! For greatness is abroad, not only in us, not only in the Food, but in the purpose of all things! It is in the nature of all things, it is part of space and time. To grow and still to grow, from first to last that is Being, that is the law of life. What other law can there be?
Source: Don Quixote de la Mancha (1605–1615), Part II (1615), Book III, Ch. 35.
Source: The Professor at the Breakfast Table (1859), Ch. V.
Torture and Resistance in Iran, 1971
This quote was about the regime of the Shah, who was forced to flee Iran in 1979
As quoted in "In conversation with Kate Bush" by Elio Iannacci in MacLeans (28 November 2016)
Context: The great thing about art on any level is that it can speak to all people if it’s achieved properly. When I’ve heard a piece of music or seen a painting that moves me, it gives me something. That’s such an incredibly special experience. I have intentions as a writer, but people — when they’re listening to a track — will take from it what they interpret. Sometimes people mishear my lyrics and think a song’s about something it isn’t. That doesn’t matter. If it speaks to them and they get something positive from it, it’s great.
Daniel Buren in an 1968 interviewer, cited in: Andrew Russeth, " Daniel Buren Shows His Stripes: The Celebrated Artist’s Two-Gallery Show Is On, After a Sandy Delay http://observer.com/2013/01/daniel-buren-shows-his-stripes-the-celebrated-artists-two-gallery-show-is-on-after-a-sandy-delay/#ixzz3bQq73uPq." at observer.com, 01/08/13
1960s
"Instruments" in The Weather of the Heart (1978)
Context: I endeavor
To hold the I as one only for the cloud
Of which I am a fragment, yet to which I'm vowed
To be responsible. Its light against my face
Reveals the witness of the stars, each in its place
Singing, each compassed by the rest,
The many joined to one, the mightiest to the least.
It is so great a thing to be an infinitesimal part
of this immeasurable orchestra the music bursts the heart,
And from this tiny plosion all the fragments join:
Joy orders the disunity until the song is one.
The Chinese Novel (1938)
Context: A good novelist, or so I have been taught in China, should be above all else tse ran, that is, natural, unaffected, and so flexible and variable as to be wholly at the command of the material that flows through him. His whole duty is only to sort life as it flows through him, and in the vast fragmentariness of time and space and event to discover essential and inherent order and rhythm and shape. We should never be able, merely by reading pages, to know who wrote them, for when the style of a novelist becomes fixed, that style becomes his prison. The Chinese novelists varied their writing to accompany like music their chosen themes.