“The pattern would have been familiar—bohemian, creative, arty—except that it was even further removed from reality, Romanticism in its furthest decadence; being only an exhausted impersonation of poverty, rebellion and artistic “soul.” For it was the unhappy fact that most of them worked for a living and obtained the substance of their conversation from the pages of Time magazine and like publications”

— Thomas Pynchon, book V.

Source: V. (1963), Chapter Two, Part II
Context: The rest of the Crew partook of the same lethargy. Raoul wrote for television, keeping carefully in mind, and complaining bitterly about, all the sponsor-fetishes of that industry. Slab painted in sporadic bursts, referring to himself as a Catatonic Expressionist and his work as “the ultimate in non-communication.” Melvin played the guitar and sang liberal folk songs. The pattern would have been familiar—bohemian, creative, arty—except that it was even further removed from reality, Romanticism in its furthest decadence; being only an exhausted impersonation of poverty, rebellion and artistic “soul.” For it was the unhappy fact that most of them worked for a living and obtained the substance of their conversation from the pages of Time magazine and like publications

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Thomas Pynchon134

American novelist 1937

William Feller (1906–1970) Croatian-American mathematician

Source: An Introduction To Probability Theory And Its Applications (Third Edition), Chapter XIII, Recurrent Events. Renewal Theory. p. 314.

“I have retained a belief that it is the popular sporty kids at school who grow up to have the least interesting lives, and the unhappy young souls who develop into the most extraordinary adults. Whoever heard of a creative genius being understood as a child and well loved by his class mates? Who like to imagine an artist who emerged into adulthood content with his lot? And, conversely, how satisfying to hear that almost without exception, the untroubled, popular kids at school have ended up blandly as accountants, solicitors or ‘in IT’. Hold on, misfits, your day will come.”

Derren Brown (1971) British illusionist

Books, Confessions of a Conjuror (2010)

“I have learned so much from every director and actor I have ever worked with. I have been fortunate to have worked with some of the greats of our era and I was always cognizant of the fact that I was getting a free education every time at bat. I think you learn so much from just observing and being privy to the conversations that move the creative process forward.”

Erick Avari (1952) Indian actor

Playing Elrktra's Father and Encountering The Mummy: A Chat with Actor Erick Avari https://podcastingthemsoftly.com/2015/11/17/playing-elektras-father-and-encountering-the-mummy-a-chat-with-actor-erick-avari/ (November 17, 2015)

“The facts are as exhaustive as they are exhausting. There’s one simple conclusion from all of this. We’ve been tricked. We’ve been told that America, like most other majority-white countries, deserves the title “developed economy.””

Mona Chalabi (1987) British data journalist

It does not. You cannot charge a woman $39.95 to hold the baby that she has just given birth to. You cannot constantly operate hospitals at close to capacity in order to maximize profits. The pursuit of private money in systems built for public good has not worked ethically or practically.
Coronavirus is revealing how broken America’s economy really is, 6 April 2020

“I do not want other artists to imitate my work – they do even when I tell them not to – but only [ imitate] my example for freedom and independence from all external, decadent and corrupting influences..”

Clyfford Still (1904–1980) American artist

1960s
Source: 'A period of Exploration', McChesney, as quoted in The New York school – the painters & sculptors of the fifties, Irving Sandler, Harper & Row, Publishers, 1978, p 35

“How capitalism finds its substance and its essence in the living work, in such a way that it comes exclusively from it, can't go without it, lives only drawing at each time its life from that of the worker, life that then becomes his own, this is what expresses in the whole work of Marx the theme of vampire. "Capitalism is dead work which, such as a vampire, animates itself only in sucking the living work and the more it pumps, the more its life is cheerful."”

Michel Henry (1922–2002) French writer

Michel Henry, Marx II. une philosophie de l’économie, éd. Gallimard, coll. « Nrf », 1976, p. 435
Books on Economy and Politics, Marx. A Philosophy of Human Being (1976)
Original: (fr) Comment le capital trouve sa substance et son essence dans le travail vivant, de telle manière qu’il provient exclusivement de lui, ne peut se passer de lui, ne vit que pour autant qu’il puise à chaque instant sa vie dans celle du travailleur, vie qui devient ainsi la sienne, c’est ce qu’exprime à travers toute l’œuvre de Marx le thème du vampire. « Le capital est du travail mort qui, semblable au vampire, ne s’anime qu’en suçant le travail vivant et sa vie est d’autant plus allègre qu’il en pompe davantage ».

“If one defends the bourgeois, philistine virtues, one does not defend them merely from the demonism or bohemianism of the artist but from the present bourgeoisie itself.”

Lionel Trilling (1905–1975) American academic

Notebook entry (1951), published in Partisan Review: 50th Anniversary Edition, ed. William Philips (1985)