
Garðar Hólm
Brekkukotsannáll (The Fish Can Sing) (1957)
Garðar Hólm
Brekkukotsannáll (The Fish Can Sing) (1957)
TRINITY (part 2) https://web.archive.org/web/20030801081841/http://www.ejectejecteject.com:80/archives/000057.html (4 July 2003)
2000s
(Manuscript, 1913); as quoted at dekorera.tumblr: futurist manifesto of men's clothing http://dekorera.tumblr.com/post/3212646425/futurist-manifesto-of-mens-clothing-by-giacomo
Futurist Manifesto of Men's clothing,' 1913/1914
“Life possesses an amazing array of profoundly sad faces.”
(This Mother's Son, p. 10).
Book Sources, The American Poet Who Went Home Again (2008)
“I didn't realize this was a sad occasion. — Waiter at The Anxious Clown Restaurant”
Lemony Snicket: The Unauthorized Autobiography (2002)
Source: Quotes of Paul Cezanne, after 1900, Cézanne, - a Memoir with Conversations, (1897 - 1906), p. 211 in: 'What he told me – III. The Studio'
Edie : American Girl (1982)
2010s, 2016, August, Speech at rally in Wilmington, North Carolina (August 9, 2016)
2010s, 2018, Say No to a Parliament of Tribes (2018)
“Sad is anywhere. It comes along and finds you.”
Sad Book
Author Unknown, Cubs 4, Arizona 1 http://sports.yahoo.com/mlb/recap?gid=230822129, Yahoo! Sports, Retreived on June 14, 2007
2003
The Tears of a Clown, written by Smokey Robinson, Stevie Wonder, and Hank Cosby (1970)
Song lyrics, With The Miracles
"Tutu calls on Anglicans to accept gay bishop" http://www.speroforum.com/site/article.asp?idCategory=33&idsub=128&id=2141 in Spero News (14 November 2005)
"The Dodo in the Caucus Race", p. 234
Leonardo's Mountain of Clams and the Diet of Worms (1998)
Quoted in "Long-time music prof leaves for Stanford", The Dartmouth, 30 September 2005 http://thedartmouth.com/2005/09/30/news/longtime/
“Spring” http://www.schulzian.net/translation/sanatorium/spring01.htm
His father, The seasons
“It is so sad —
So very lonely — to be the sole one
In whom there is a sign of change!”
The Knight’s Tale from The London Literary Gazette: 31st July 1824 Poetic Sketches - 5th Series - Sketch the Third
The Vow of the Peacock (1835)
Quote from his letter, 1851; as quoted in Millet, by Romain Rolland, - translated from the French text of M. Romain Rolland by Miss Clementina Black; published: London, Duchworth & Co / New York, E. P. Dutton & Co, p. 11+12
1851 - 1870
"Justin Timberlake praises Jackson's musical genius" http://www.people.com/people/article/0,,20287803,00.html, People (June 26, 2009).
(1825-2) Ideal Likenesses. Erinna
The Monthly Magazine
Message to the Tricontinental (1967)
Upon slaughtering some dogs to feed other dogs and themselves
Sydpolen (The South Pole) (1912)
Letter to Franz Rott (December 1787), from The collected correspondence, and London notebooks of Joseph Haydn, ed. H.C. Robbins Landon (1959), p. 73
As quoted from Hank Green http://en.wikipedia.org/wiki/Hank_Green on his Twitter feed http://twitter.com/#!/hankgreen
YouTube
Pierre Fauchery, as quoted by the character "Jules Labarthe"
The Age for Love
Talking about Chris Cornell for the first time since his death during a concert in London on June 6, 2017.
Review http://www.rogerebert.com/reviews/ballast-2008 of Ballast (29 October 2008)
Reviews, Four star reviews
“How soft, how sad his voice is ever calling,
Ever unanswered, and the dark rain falling”
She Weeps Over Rahoon, p. 12
Pomes Penyeach (1927)
Marie Windsor: Her Face Is Familiar https://www.newspapers.com/clip/5496065/lubbock_avalanchejournal/ (April 11, 1973)
How to Succeed at Vampire Slaying and Keep Your Soul (2005)
“I had no idea that mothering my own child would be so healing to my own sadness from my childhood.”
Interviewed by Nicki Gostin, " 'Everybody Loves Raymond' star Brad Garrett talks costars, religion and politics http://www.foxnews.com/entertainment/2015/05/05/everybody-loves-raymond-star-brad-garrett-talks-costars-religion-and-politics/," (5 May 2015).
Letter to Gilbert Imlay (19 August 1794)
Interview from 1998 https://www.imdb.com/name/nm0823155/bio?ref_=nm_ov_bio_sm.
"The Chrysanthemums in the Eastern Garden" (A.D. 812)
Arthur Waley's translations
Quelle est cette île triste et noire?
C'est Cythère,
Nous dit-on, un pays fameux dans les chansons
Eldorado banal de tous les vieux garçons.
Regardez, après tout, c'est une pauvre terre.
"Un Voyage à Cythère" [A Voyage to Cythera], lines 5-8, trans. Roy Campbell http://fr.wikisource.org/wiki/Un_Voyage_%C3%A0_Cyth%C3%A8re
Les fleurs du mal (Flowers of Evil) (1857)
review of The Flying Sorcerers by David Gerrold and Larry Niven http://jamesdavisnicoll.com/review/exhibit-a, 2016
2010s
2015
Source: Sun Star Manila http://www.sunstar.com.ph/manila/local-news/2015/07/03/government-urged-grant-farmers-higher-wages-decent-living-416728
Source: More Money than Brains (2010), Chapter Five, Bully vs. Nerd, p. 139
As quoted by The Times. http://time.com/4172603/paul-lepage-chris-christie-maine-2016-election/ (January 8, 2016)
Poker Player (1969), reprinted in The Devil in Modern Philosophy (1974)
Source: The Romantic Generation (1995), Ch. 6 : Chopin: Virtuosity Transformed
Not one of my proudest memories.
Ogilvy on Advertising, p. 109
“I leave with sadness, but with pride: Dravid on retirement”
In press conference announcing retirement from Test cricket, quoted in " After 16 yrs, Rahul Wall Dravid retires from intl cricket" in Indian Express (Indianexpress.com) http://www.indianexpress.com/news/after-16-yrs-rahul-wall-dravid-retires-from-intl-cricket/921750/0
regarding Bill Clinton; quoted in Foleygate: The former congressman's true crime, The Phoenix, 2006-10-05, 2006-12-13 http://www.thephoenix.com/article_ektid24210.aspx,
“Real genuine joy is borne of sadness and sorrow.”
Joy: Share it! p. 36.
Joy: Share it! (2017)
Letter from Patton to his wife, written on April 23, 1969. As quoted in Growing Up Patton (2012) by Benjamin Patton, p. 298
Advocacy Before the Supreme Court: Suggestions for Effective Case Presentations, 37 A.B.A Journal 801 (1951)
Review of Magnolia (1999), in review for Great Movies (27 November 2008) http://www.rogerebert.com/reviews/great-movie-magnolia-1999
Reviews, Four star reviews
Context: Magnolia is a film of sadness and loss, of lifelong bitterness, of children harmed and adults destroying themselves. As the narrator tells us near the end, "We may be through with the past, but the past is never through with us." In this wreckage of lifetimes, there are two figures, a policeman and a nurse, who do what they can to offer help, hope and love. … The central theme is cruelty to children, and its lasting effect. This is closely linked to a loathing or fear of behaving as we are told, or think, that we should. … As an act of filmmaking, it draws us in and doesn't let go. It begins deceptively, with a little documentary about amazing coincidences (including the scuba diver scooped by a fire-fighting plane and dumped on a forest fire) … coincidences and strange events do happen, and they are as real as everything else. If you could stand back far enough, in fact, everything would be revealed as a coincidence. What we call "coincidences" are limited to the ones we happen to notice. … In one beautiful sequence, Anderson cuts between most of the major characters all simultaneously singing https://www.youtube.com/watch?v=aNmKghTvj0E Aimee Mann's "It's Not Going to Stop." A directorial flourish? You know what? I think it's a coincidence. Unlike many other "hypertext movies" with interlinking plots, Magnolia seems to be using the device in a deeper, more philosophical way. Anderson sees these people joined at a level below any possible knowledge, down where fate and destiny lie. They have been joined by their actions and their choices.
And all leads to the remarkable, famous, sequence near the film's end when it rains frogs. Yes. Countless frogs, still alive, all over Los Angeles, falling from the sky. That this device has sometimes been joked about puzzles me. I find it a way to elevate the whole story into a larger realm of inexplicable but real behavior. We need something beyond the human to add another dimension. Frogs have rained from the sky eight times this century, but never mind the facts. Attend instead to Exodus 8:2, which is cited on a placard in the film: "And if thou refuse to let them go, behold, I will smite your whole territory with frogs." Let who go? In this case, I believe, it refers not to people, but to fears, shames, sins.
Magnolia is one of those rare films that works in two entirely different ways. In one sense, it tells absorbing stories, filled with detail, told with precision and not a little humor. On another sense, it is a parable. The message of the parable, as with all good parables, is expressed not in words but in emotions. After we have felt the pain of these people, and felt the love of the policeman and the nurse, we have been taught something intangible, but necessary to know.
Source: Dracula (1897), Chapter XIV, Dr. Seward's Diary entry for 22 September
Context: Van Helsing and I came on here. The moment we were alone in the carriage he gave way to a regular fit of hysterics. He has denied to me since that it was hysterics, and insisted that it was only his sense of humour asserting itself under very terrible conditions. He laughed till he cried, and I had to draw down the blinds lest any one should see us and misjudge; and then he cried, till he laughed again; and laughed and cried together, just as a woman does. I tried to be stern with him, as one is to a woman under the circumstances; but it had no effect. Men and women are so different in manifestations of nervous strength or weakness! Then when his face grew grave and stern again I asked him why his mirth, and why at such a time. His reply was in a way characteristic of him, for it was logical and forceful and mysterious. He said:—
“Ah, you don't comprehend, friend John. Do not think that I am not sad, though I laugh. See, I have cried even when the laugh did choke me. But no more think that I am all sorry when I cry, for the laugh he come just the same. Keep it always with you that laughter who knock at your door and say, ‘May I come in?’ is not the true laughter. No! he is a king, and he come when and how he like. He ask no person; he choose no time of suitability. He say, ‘I am here.’ Behold, in example I grieve my heart out for that so sweet young girl; I give my blood for her, though I am old and worn; I give my time, my skill, my sleep; I let my other sufferers want that so she may have all. And yet I can laugh at her very grave — laugh when the clay from the spade of the sexton drop upon her coffin and say ‘Thud, thud!’ to my heart, till it send back the blood from my cheek. My heart bleed for that poor boy — that dear boy, so of the age of mine own boy had I been so blessed that he live, and with his hair and eyes the same. There, you know now why I love him so. And yet when he say things that touch my husband-heart to the quick, and make my father-heart yearn to him as to no other man — not even you, friend John, for we are more level in experiences than father and son — yet even at such a moment King Laugh he come to me and shout and bellow in my ear, ‘Here I am! here I am!’ till the blood come dance back and bring some of the sunshine that he carry with him to my cheek. Oh, friend John, it is a strange world, a sad world, a world full of miseries, and woes, and troubles; and yet when King Laugh come, he make them all dance to the tune he play. Bleeding hearts, and dry bones of the churchyard, and tears that burn as they fall — all dance together to the music that he make with that smileless mouth of him. And believe me, friend John, that he is good to come, and kind. Ah, we men and women are like ropes drawn tight with strain that pull us different ways. Then tears come; and, like the rain on the ropes, they brace us up, until perhaps the strain become too great, and we break. But King Laugh he come like the sunshine, and he ease off the strain again; and we bear to go on with our labour, what it may be.”
1999, Cited by Amy M. Spindler
Context: Gradually it dawned on me that I was painting my own inner emotions. Those children were asking: "Why are we here? What is life all about? Why is there sadness and injustice?" All those deep questions. Those children were sad because they didn't have the answers. They were searching.
Notes to his mother, on The Life of Humanity (1884-6) http://www.wikiart.org/en/gustave-moreau/humanity-the-golden-age-depicting-three-scenes-from-the-lives-of-adam-and-eve-the-silver-age-1886, his composition of a ten image polyptych, p. 48 · Photo of its exhibition on the 3rd Floor of Musée National Gustave Moreau http://en.musee-moreau.fr/house-museum/studios/third-floor
Gustave Moreau (1972)
As quoted in "Getting Real With Amanda Palmer" at AfterEllen (18 July 2007) http://archive.is/20120728142340/http://www.afterellen.com/people/2007/7/amandapalmer?page=0,0
Context: It makes me very sad when I find out that people who never hear our music think that we are really about image and not about substance. … I can understand why you might get that impression if you've never heard the band's music and see a photo of a guy and a girl dressed up in crazy costumes and think, "I don't need to pay attention to that — why do they need to wear those crazy clothes?" I think that's why we've constantly toured. Our live show is so intense and so substantive and emotional that it's sort of the price we have to pay for being so flamboyant — we have to prove ourselves as a rock band.
“I only saw her as she pass'd —
A great, sad beauty, in whose eyes
Lay all the loves of Paradise.”
IV, p. 25.
The Ship in the Desert (1875)
Context: I only saw her as she pass'd —
A great, sad beauty, in whose eyes
Lay all the loves of Paradise....
You shall not know her — she who sat
Unconscious in my heart all time
I dream'd and wove this wayward rhyme,
And loved and did not blush thereat.
Source: Dracula (1897), Chapter XIV, Dr. Seward's Diary entry for 22 September
Context: Van Helsing and I came on here. The moment we were alone in the carriage he gave way to a regular fit of hysterics. He has denied to me since that it was hysterics, and insisted that it was only his sense of humour asserting itself under very terrible conditions. He laughed till he cried, and I had to draw down the blinds lest any one should see us and misjudge; and then he cried, till he laughed again; and laughed and cried together, just as a woman does. I tried to be stern with him, as one is to a woman under the circumstances; but it had no effect. Men and women are so different in manifestations of nervous strength or weakness! Then when his face grew grave and stern again I asked him why his mirth, and why at such a time. His reply was in a way characteristic of him, for it was logical and forceful and mysterious. He said:—
“Ah, you don't comprehend, friend John. Do not think that I am not sad, though I laugh. See, I have cried even when the laugh did choke me. But no more think that I am all sorry when I cry, for the laugh he come just the same. Keep it always with you that laughter who knock at your door and say, ‘May I come in?’ is not the true laughter. No! he is a king, and he come when and how he like. He ask no person; he choose no time of suitability. He say, ‘I am here.’ Behold, in example I grieve my heart out for that so sweet young girl; I give my blood for her, though I am old and worn; I give my time, my skill, my sleep; I let my other sufferers want that so she may have all. And yet I can laugh at her very grave — laugh when the clay from the spade of the sexton drop upon her coffin and say ‘Thud, thud!’ to my heart, till it send back the blood from my cheek. My heart bleed for that poor boy — that dear boy, so of the age of mine own boy had I been so blessed that he live, and with his hair and eyes the same. There, you know now why I love him so. And yet when he say things that touch my husband-heart to the quick, and make my father-heart yearn to him as to no other man — not even you, friend John, for we are more level in experiences than father and son — yet even at such a moment King Laugh he come to me and shout and bellow in my ear, ‘Here I am! here I am!’ till the blood come dance back and bring some of the sunshine that he carry with him to my cheek. Oh, friend John, it is a strange world, a sad world, a world full of miseries, and woes, and troubles; and yet when King Laugh come, he make them all dance to the tune he play. Bleeding hearts, and dry bones of the churchyard, and tears that burn as they fall — all dance together to the music that he make with that smileless mouth of him. And believe me, friend John, that he is good to come, and kind. Ah, we men and women are like ropes drawn tight with strain that pull us different ways. Then tears come; and, like the rain on the ropes, they brace us up, until perhaps the strain become too great, and we break. But King Laugh he come like the sunshine, and he ease off the strain again; and we bear to go on with our labour, what it may be.”
Interview with Bill Moyers http://www.pbs.org/now/transcript/transcript_leonard.html, Now, PBS (28 November 2003)
Context: The culture as a whole is losing its individual notes, its diversity. And this is… it's not only sad. It's devastating. It's devastating because routine language means routine thought. And it means unquestioning thought. It means if I can't — if new words cannot occur to me and new image does not occur to me, then what I'm doing is I'm simply repeating what I've heard.
And what we hear from an overpowering cultural force and the forces of homogenization, what we hear is sell, sell, buy, buy. That's it. That is the function.
“Slavery is, as you justly complain, a sad blot on our free country.”
Letter to Lafayette (1821) https://books.google.com/books?id=Elh0sAhIVvAC&pg=PA85&dq=%22SAD+BLOT+ON+OUR+FREE+COUNTRY%22&hl=en&sa=X&ved=0CCkQ6AEwAmoVChMI47DWxfTQxwIVRFQ-Ch2fvwWA#v=onepage&q=%22SAD%20BLOT%20ON%20OUR%20FREE%20COUNTRY%22&f=false
1820s
I want to thank you all for giving me a chance to come by, and may God bless us all.
2000s, 2001, Islam is Peace (September 2001)
“I created you while I was happy, while I was sad,
with so many incidents, so many details.”
" In the Same Space http://cavafis.compupress.gr/kave_134.htm" (1929)
Context: p>I created you while I was happy, while I was sad,
with so many incidents, so many details.And, for me, the whole of you has been transformed into feeling.</p
St. III
Ode on the Death of the Duke of Wellington (1852)
Poems and Ballads (1866-89), The Triumph of Time
Context: p>I had grown pure as the dawn and the dew,
You had grown strong as the sun or the sea.
But none shall triumph a whole life through:
For death is one, and the fates are three.
At the door of life, by the gate of breath,
There are worse things waiting for men than death;
Death could not sever my soul and you,
As these have severed your soul from me.You have chosen and clung to the chance they sent you,
Life sweet as perfume and pure as prayer.
But will it not one day in heaven repent you?
Will they solace you wholly, the days that were?
Will you lift up your eyes between sadness and bliss,
Meet mine, and see where the great love is,
And tremble and turn and be changed? Content you;
The gate is strait; I shall not be there.</p
On Polanski's The Pianist
Essays and reviews, The Meaning of Recognition (2005)
Context: Roman Polanski's new film The Pianist is a work of genius on every level, except, alas, for the press-pack promotional slogan attributed to the director himself. "The Pianist is a testimony to the power of music, the will to live, and the courage to stand against evil." If he actually said it, he flew in the face of his own masterpiece, which is a testimony to none of those things. In the Warsaw ghetto, the power of music, the will to live and the courage to stand against evil added up to very little, and The Pianist has the wherewithal to respect that sad fact and make sense of it. In the Warsaw ghetto, what counted was luck, and the luck had to be very good.
“I am tired; my heart is sick and sad. From where the Sun now stands, I will fight no more forever.”
Speech in surrendering to General Nelson Appleton Miles after long evading a pursuit nearly to the border of Canada. (October 5, 1877)
Context: Tell General Howard I know his heart. What he told me before, I have it in my heart. I am tired of fighting. Our Chiefs are killed; Looking Glass is dead, Ta Hool Hool Shute is dead. The old men are all dead. It is the young men who say yes or no. He who led on the young men is dead. It is cold, and we have no blankets; the little children are freezing to death. My people, some of them, have run away to the hills, and have no blankets, no food. No one knows where they are — perhaps freezing to death. I want to have time to look for my children, and see how many of them I can find. Maybe I shall find them among the dead. Hear me, my Chiefs! I am tired; my heart is sick and sad. From where the Sun now stands, I will fight no more forever.
Visions
Context: When at that time I was in a state of terrible weariness, I saw a great eagle, flying towards me from the altar. And he said to me: "If you wish to become one, then prepare yourself." And I fell to my knees and my heart longed terribly to worship that One Thing in accordance with its true dignity, which is impossible--I know that, God knows that, to my great sadness and burden. And the eagle turned, saying, "Righteous and most powerful Lord, show now the powerful force of your Unity for the consummation with the Oneness of yourself." And he turned back and said to me, "He who has come, comes again, and wherever he never came, there he will not come."
As quoted in "Cat Stevens Breaks His Silence," by Andrew Dansby in Rolling Stone (14 June 2000) http://www.rollingstone.com/artists/catstevens/articles/story/5927176/cat_stevens_breaks_his_silence; Leviticus 24:16 reads : "And he that blasphemeth the name of the LORD, he shall surely be put to death, and all the congregation shall certainly stone him: as well the stranger, as he that is born in the land, when he blasphemeth the name of the Lord, shall be put to death."
Context: I'm very sad that this seems to be the No. 1 question people want to discuss. I had nothing to do with the issue other than what the media created. I was innocently drawn into the whole controversy. So, after many years, I'm glad at least now that I have been given the opportunity to explain to the public and fans my side of the story in my own words. At a lecture, back in 1989, I was asked a question about blasphemy according to Islamic Law, I simply repeated the legal view according to my limited knowledge of the Scriptural texts, based directly on historical commentaries of the Qur'an. The next day the newspaper headlines read, "Cat Says, Kill Rushdie." I was abhorred, but what could I do? I was a new Muslim. If you ask a Bible student to quote the legal punishment of a person who commits blasphemy in the Bible, he would be dishonest if he didn't mention Leviticus 24:16.
The "Camelot" interview (29 November 1963)
Context: But there's this one thing I wanted to say... I'm so ashamed of myself... When Jack quoted something, it was usually classical... no, don't protect me now... I kept saying to Bobby, I've got to talk to somebody, I've got to see somebody, I want to say this one thing, it's been almost an obsession with me, all I keep thinking of is this line from a musical comedy, it's been an obsession with me... At night before we'd go to sleep... we had an old Victrola. Jack liked to play some records. His back hurt, the floor was so cold. I'd get out of bed at night and play it for him, when it was so cold getting out of bed... on a Victrola ten years old — and the song he loved most came at the very end of this record, the last side of Camelot, sad Camelot... "Don't let it be forgot, that once there was a spot, for one brief shining moment that was known as Camelot."... There'll never be another Camelot again...
Balder the Beautiful (1877)
Context: “O Balder, he who fashion’d us,
And bade us live and move,
Shall weave for Death’s sad heavenly hair
Immortal flowers of love.
“Ah! never fail’d my servant Death,
Whene’er I named his name,—
But at my bidding he hath flown
As swift as frost or flame.
“Yea, as a sleuth-hound tracks a man,
And finds his form, and springs,
So hath he hunted down the gods
As well as human things!
“Yet only thro’ the strength of Death
A god shall fall or rise —
A thousand lie on the cold snows,
Stone still, with marble eyes.
“But whosoe’er shall conquer Death,
Tho’ mortal man he be,
Shall in his season rise again,
And live, with thee, and me!
“And whosoe’er loves mortals most
Shall conquer Death the best,
Yea, whosoe’er grows beautiful
Shall grow divinely blest.”
The white Christ raised his shining face
To that still bright’ning sky.
“Only the beautiful shall abide,
Only the base shall die!”
The Great Infidels (1881)
Context: In the estimation of good orthodox Christians I am a criminal, because I am trying to take from loving mothers, fathers, brothers, sisters, husbands, wives, and lovers the consolations naturally arising from a belief in an eternity of grief and pain. I want to tear, break, and scatter to the winds the God that priests erected in the fields of innocent pleasure — a God made of sticks called creeds, and of old clothes called myths. I shall endeavor to take from the coffin its horror, from the cradle its curse, and put out the fires of revenge kindled by an infinite fiend.
Is it necessary that Heaven should borrow its light from the glare of Hell?
Infinite punishment is infinite cruelty, endless injustice, immortal meanness. To worship an eternal gaoler hardens, debases, and pollutes even the vilest soul. While there is one sad and breaking heart in the universe, no good being can be perfectly happy.
1850s, Latter-Day Pamphlets (1850), The Present Time (February 1, 1850)
Context: Between our Black West Indies and our White Ireland, between these two extremes of lazy refusal to work, and of famishing inability to find any work, what a world have we made of it, with our fierce Mammon-worships, and our benevolent philanderings, and idle godless nonsenses of one kind and another! Supply-and-demand, Leave-it-alone, Voluntary Principle, Time will mend it:—till British industrial existence seems fast becoming one huge poison-swamp of reeking pestilence physical and moral; a hideous living Golgotha of souls and bodies buried alive; such a Curtius' gulf, communicating with the Nether Deeps, as the Sun never saw till now. These scenes, which the Morning Chronicle is bringing home to all minds of men,—thanks to it for a service such as Newspapers have seldom done,—ought to excite unspeakable reflections in every mind. Thirty thousand outcast Needlewomen working themselves swiftly to death; three million Paupers rotting in forced idleness, helping said Needlewomen to die: these are but items in the sad ledger of despair.
I should not like to be merely a great doctor, a great lawyer, a great minister, a great politician.—I should like to be, also, something of a man.
As quoted in A Dictionary of Thoughts : Being a Cyclopedia of Laconic Quotations from the Best Authors, Both Ancient and Modern (1891) edited by Tryon Edwards. p. 326.
as potent a sense of implication as for the loss of a body one has known. Over the years, I had seen Rowan on TV. He was not, of course he was not, the young man who had been with me by the heater — the photograph on the book jacket, the voice that spoke through my eyes. The muscles of my body must form the words and the chemicals of my comprehension must form the words, the windows, the doors, the Saturdays, the turning pages of another life, a life simultaneous with mine.
It is a kind of possession, reading. Willing the Other to abide in your present. His voice, mixed with sunlight, mixed with Saturday, mixed with my going to bed and then getting up, with the pattern and texture of the blanket, with the envelope from a telephone bill I used as a bookmark. With going to Mass. With going to the toilet. With my mother in the kitchen, with whatever happened that day and the next; with clouds forming over the Central Valley, with the flannel shirt I wore, with what I liked for dinner, with what was playing at the Alhambra Theater. I remember Carl T. Rowan, in other words, as myself, as I was. Perhaps that is what one mourns.
Brown : The Last Discovery of America (2003)
“The old man was sad as he sat on his porch. He knew so little of the Great Purpose.”
"The Big Hunger" (1952)
Context: The old man was sad as he sat on his porch. He knew so little of the Great Purpose. Why must his seed fling itself starward? He knew that it must — but he lacked a reason. His grandchildren played in the twilight, played space-games, although there was not yet a starship on the planet.
(24 July 2005)
Unfit for Mass Consumption (blog entries), 2005
Context: There are many words and phrases that should be forever kept out of the hands of book reviewers. It's sad, but true. And one of these is "self-indulgent." And this is one of those things that strikes me very odd, like reviewers accusing an author of writing in a way that seems "artificial" or "self-conscious." It is, of course, a necessary prerequisite of fiction that one employ the artifice of language and that one exist in an intensely self-conscious state. Same with "self-indulgent." What could possibly be more self-indulgent than the act of writing fantastic fiction? The author is indulging her- or himself in the expression of the fantasy, and, likewise, the readers are indulging themselves in the luxury of someone else's fantasy. I've never written a story that wasn't self-indulgent. Neither has any other fantasy or sf author. We indulge our interests, our obsessions, and assume that someone out there will feel as passionately about X as we do.
Larry King Live interview (2010)
Context: The sad fact about the mosque is the people who are building that mosque are part of the Sufi fringe moderate part of their religion. That's the good part. That's the liberal part. Those are the Hippies of the Islamic world. We should encourage them. The people who want to build that mosque, those are the people we should be courting. Bush used that guy. Bush — that administration sent him overseas. Yes, that's the way to fight terrorism. That's the way to win the war, is to get those people on our side, not to alienate them. … I mean, the biggest population of Muslims in the world is Indonesia. They're not crazy. The second biggest is India. There's 150 million Muslims in India. They're not crazy. …But Saudi Arabia, they're crazy. The Taliban in Afghanistan, they're crazy. Parts of Pakistan are crazy. Hamas is crazy. There's enough of them to worry about.
Source: The Devil and Daniel Webster (1937)
Context: Then he turned to Jabez Stone and showed him as he was — an ordinary man who'd had hard luck and wanted to change it. And, because he'd wanted to change it, now he was going to be punished for all eternity. And yet there was good in Jabez Stone, and he showed that good. He was hard and mean, in some ways, but he was a man. There was sadness in being a man, but it was a proud thing too. And he showed what the pride of it was till you couldn't help feeling it. Yes, even in hell, if a man was a man, you'd know it. And he wasn't pleading for any one person any more, though his voice rang like an organ. He was telling the story and the failures and the endless journey of mankind. They got tricked and trapped and bamboozled, but it was a great journey. And no demon that was ever foaled could know the inwardness of it — it took a man to do that.
The fire began to die on the hearth and the wind before morning to blow. The light was getting gray in the room when Dan'l Webster finished. And his words came back at the end to New Hampshire ground, and the one spot of land that each man loves and clings to. He painted a picture of that, and to each one of that jury he spoke of things long forgotten. For his voice could search the heart, and that was his gift and his strength. And to one, his voice was like the forest and its secrecy, and to another like the sea and the storms of the sea; and one heard the cry of his lost nation in it, and another saw a little harmless scene he hadn't remembered for years. But each saw something. And when Dan'l Webster finished he didn't know whether or not he'd saved Jabez Stone. But he knew he'd done a miracle. For the glitter was gone from the eyes of the judge and jury, and, for the moment, they were men again, and knew they were men.
Source: The Politics of Experience (1967), p. 1 of Introduction
Context: Few books today are forgivable. Black on canvas, silence on the screen, an empty white sheet of paper are perhaps feasible. There is little conjunction of truth and social "reality". Around us are pseudo-events, to which we adjust with a false consciousness adapted to see these events as true and real, and even as beautiful. In the society of men the truth resides now less in what things are than in what they are not. Our social realities are so ugly if seen in the light of exiled truth, and beauty is almost no longer possible if it is not a lie. What is to be done? We who are still half alive, living in the often fibrillating heartland of a senescent capitalism — can we do more than reflect the decay around and within us? Can we do more than sing our sad and bitter songs of disillusion and defeat? The requirement of the present, the failure of the past, is the same: to provide a thoroughly self-conscious and self-critical human account of man.
Paulus : Reminiscences of a Friendship (1973)
Context: We are more apt to feel depressed by the perpetually smiling individual than the one who is honestly sad. If we admit our depression openly and freely, those around us get from it an experience of freedom rather than the depression itself.
“You've been turned in to my reminiscences
To make eternal the unearthly sadness.”
As a White Stone... (1916)
Context: I knew: the gods turned once, in their madness,
Men into things, not killing humane senses.
You've been turned in to my reminiscences
To make eternal the unearthly sadness.
“The loves and hours of the life of a man,
They are swift and sad, being born of the sea.”
Poems and Ballads (1866-89), The Triumph of Time
Context: The loves and hours of the life of a man,
They are swift and sad, being born of the sea.
Hours that rejoice and regret for a span,
Born with a man's breath, mortal as he;
Loves that are lost ere they come to birth,
Weeds of the wave, without fruit upon earth.
I lose what I long for, save what I can,
My love, my love, and no love for me!
Book 1
The Spanish Gypsy (1868)
1840s, Past and Present (1843)
Context: "No man in this fashionable London of yours," friend Sauerteig would say, "speaks a plain word to me. Every man feels bound to be something more than plain; to be pungent withal, witty, ornamental. His poor fraction of sense has to be perked into some epigrammatic shape, that it may prick into me;—perhaps (this is the commonest) to be topsyturvied, left standing on its head, that I may remember it the better! Such grinning inanity is very sad to the soul of man. Human faces should not grin on one like masks; they should look on one like faces! I love honest laughter, as I do sunlight; but not dishonest: most kinds of dancing too; but the St.-Vitus kind not at all! A fashionable wit, ach Himmel, if you ask, Which, he or a Death's- head, will be the cheerier company for me? pray send not him!"