Quotes about the dead
page 22

Sten Nadolny photo
Ilana Mercer photo

“It’s not right-wing populism that endangers Jewish survival in Europe and Canada; it’s the influx of Muslims. There’s nothing new in the Jewish leadership’s habit of kibitzing about the dangers to Jewish continuity from marauding Mormons (their sin is to convert dead Jews). Or, from Mel Gibson, whose movie “The Passion of the Christ” was supposed to unleash pogroms in Pittsburgh, as they falsely prophesied.”

Ilana Mercer South African writer

"Islam, Not Trump, Is The Elephant In The Room, Threatening Jewish Survival" https://townhall.com/columnists/ilanamercer/2017/02/23/islam-not-trump-is-the-elephant-in-the-room-threatening-jewish-survival-n2289643 Townhall.com, February 23, 2017
2010s, 2017

Jack Vance photo
John of Patmos photo
James Branch Cabell photo
Heber C. Kimball photo
Mickey Spillane photo
Robert A. Heinlein photo
Michael Rosen photo
Phil Collen photo
L. Ron Hubbard photo

“Maybe because I had been out very late the night before and was not able to put up my usual resistance, but it seemed to me, sitting there with the sound of his voice dying in my ears, that I could fall in love with him.
And then, as unexpected as a hidden step, I felt myself actually stumble and fall. And there it was, I was in love with him! As simple as that.
He was the first real person I’d ever been in love with. I couldn’t get over it. What I was trying to figure out was why I had never been in love with him before. I mean I’d had plenty of chance to. I’d seen him almost daily that summer in Maine two years ago when we were both in a Summer Stock company. … He was always rather nice to me in his insolent way, but there was also, I now remembered with a passing pang, an utterly ravishing girl, a model, the absolute epitome of glamour, called Lila. She used to come up at week ends to see him.
Then I heard from someone that he’d quit college the next winter and gone abroad to become a genius. I’d met him again when I first landed in Paris. He’d been very nice, bought me a drink, taken down my telephone number and never called me.
You’re a dead duck now, I told myself, as I relaxed back into my coma. You’re gone. I looked at him, smiling idly. I tried to imagine what was going on in his mind.”

Elaine Dundy (1921–2008) American journalist, actress

Part One, One
The Dud Avocado (1958)

Ken Livingstone photo
Arlo Guthrie photo
Edmund White photo
Pierre Schaeffer photo
Clive Barker photo
John Ruskin photo
Aldous Huxley photo
Renée Vivien photo
Fernand Léger photo

“The mural artist is concerned with bringing to life dead surfaces by the application of colour.”

Fernand Léger (1881–1955) French painter

Revival of Mural Art, The Listener, August 25, 1937 Vol. XVIII. No. 450, pp. 408-409
Quotes of Fernand Leger, 1930's

Lloyd Kenyon, 1st Baron Kenyon photo
Russell Brand photo
Franz Halder photo
Thomas Moore photo

“Like Dead Sea fruits, that tempt the eye,
But turn to ashes on the lips.”

Thomas Moore (1779–1852) Irish poet, singer and songwriter

Lalla Rookh http://www.columbia.edu/itc/mealac/pritchett/00generallinks/lallarookh/index.html (1817), Part V-VIII: The Fire-Worshippers

Ben Croshaw photo
Martin Luther King, Jr. photo
Theodore Parker photo
Masiela Lusha photo
Tim Berners-Lee photo

“Aaron is dead. Wanderers in this crazy world, we have lost a mentor, a wise elder. Hackers for right, we are one down, we have lost one of our own. Nurtures, careers, listeners, feeders, parents all, we have lost a child. Let us all weep.”

Tim Berners-Lee (1955) British computer scientist, inventor of the World Wide Web

Eulogizing Aaron Swartz in W3C Mailing list (12 Jan 2013) http://lists.w3.org/Archives/Public/www-tag/2013Jan/0017.html

Anna Akhmatova photo

“That was a time when only the dead
could smile, delivered from their wars,
and the sign, the soul, of Leningrad
dangled outside its prison-house…”

Anna Akhmatova (1889–1966) Russian modernist poet

As translated by Stanley Kunitz
In those years only the dead smiled,
Glad to be at rest:
And Leningrad city swayed like
A needless appendix to its prisons.
Translated by D. M. Thomas
Requiem; 1935-1940 (1963; 1987), Prologue

Alex Salmond photo

“No matter the lie, even if I was on my own, I'd have to play it. I can hear my dad saying: 'Play the ball as it lies.' Because of the way I was taught, I would feel awful about it. I don't know if that makes me dead honest or dead stupid.”

Alex Salmond (1954) Scottish National Party politician and former First Minister of Scotland

Alex Salmond: The new king of Scotland http://www.independent.co.uk/news/people/profiles/alex-salmond-the-new-king-of-scotland-889764.html, ' (9 August 2008)

Alan Charles Kors photo
Thomas Frank photo

“Class, conservatives insist, is not really about money or birth or even occupation. It is primarily a matter of authenticity, that most valuable cultural commodity. Class is about what one drives and where one shops and how one prays, and only secondarily about the work one does or the income one makes. What makes one a member of the noble proletariat is not work per se, but unpretentiousness, humility, and the rest of the qualities that our punditry claims to spy in the red states that voted for George W. Bush. The nation’s producers don’t care about unemployment or a dead-end life or a boss who makes five hundred times as much as they do. No. In red land both workers and their bosses are supposed to be united in disgust with those affected college boys at the next table, prattling on about French cheese and villas in Tuscany and the big ideas for running things that they read in books.This sounds like a complicated maneuver, but it should be quite familiar after all these years. We see it in its most ordinary, run-of-the-mill variety every time we hear a conservative pundit or politician deplore "class warfare"”

meaning any talk about the failures of free-market capitalism — and then, seconds later, hear them rail against the "media elite" or the haughty, Volvo driving "eastern establishment."
Part II: The Fury Which Passeth All Understanding, Chapter Six: Persecuted, Powerless, and Blind (pp. 113-114).
What's the Matter with Kansas? (2004)

Charles Lamb photo

“The red-letter days, now become, to all intents and purposes, dead-letter days.”

Oxford in the Vacation.
Essays of Elia (1823)

Maggie Stiefvater photo
Homér photo
Fritz Leiber photo
Nick Cave photo
George Holmes Howison photo

“Under the suffocating burden of the old things that should have passed away, the Christian consciousness forgets, at least in part, that all things are become new, and that man is risen from the dead.”

George Holmes Howison (1834–1916) American philosopher

Source: The City of God and the True God as its Head (In Royce’s “The Conception of God: a Philosophical Discussion Concerning the Nature of the Divine Idea as a Demonstrable Reality”), p.96

Henry Fountain Ashurst photo
Roman Vishniac photo

“You can't teach biology with a bottle containing dead animals and organisms.”

Roman Vishniac (1897–1990) American photographer

Shepard, Richard F. "Roman Vishniac, 92, a Biologist And Photographer of Jews, Dies". New York Times (1859-Current file); Jan 23, 1990; ProQuest Historical Newspapers The New York Times (1951 - 2002) pg. D23.

Edmund Clarence Stedman photo
David Boreanaz photo

“I went to Ithaca, found the Grateful Dead and my life was changed.”

David Boreanaz (1969) American actor, famous for Angel and Buffy

Interview with a vampire By Chuck Holliday http://www.ithaca.edu/ithacan/articles/9902/04/accent/boreanaz.html

Ian McDonald photo
Henry Temple, 3rd Viscount Palmerston photo

“Only three people," said Palmerston, "have ever really understood the Schleswig-Holstein business—the Prince Consort, who is dead—a German professor, who has gone mad—and I, who have forgotten all about it.”

Henry Temple, 3rd Viscount Palmerston (1784–1865) British politician

Strachey, Lytton. Victoria, Queen of Great Britain, 1819-1901. New York Harcourt, Brace And Company, 1921 via Project Gutenberg http://www.gutenberg.org/ebooks/1265
1860s

Whitley Strieber photo
Constantin Brâncuși photo

“When we are no longer young we are already dead”

Constantin Brâncuși (1876–1957) French-Romanian artist

Attributed to Brâncuși in: Rene Dubot So Human an Animal: How We Are Shaped by Surroundings and Events. 1998, p. 112

Conrad Aiken photo
Norbert Wiener photo

“It is my thesis that the physical functioning of the living individual and the operation of some of the newer communication machines are precisely parallel in their analogous attempts to control entropy through feedback. Both of them have sensory receptors as one stage in their cycle of operation: that is, in both of them there exists a special apparatus for collecting information from the outer world at low energy levels, and for making it available in the operation of the individual or of the machine. In both cases these external messages are not taken neat, but through the internal transforming powers of the apparatus, whether it be alive or dead. The information is then turned into a new form available for the further stages of performance. In both the animal and the machine this performance is made to be effective on the outer world. In both of them, their performed action on the outer world, and not merely their intended action, is reported back to the central regulatory apparatus. This complex of behavior is ignored by the average man, and in particular does not play the role that it should in our habitual analysis of society; for just as individual physical responses may be seen from this point of view, so may the organic responses of society itself. I do not mean that the sociologist is unaware of the existence and complex nature of communications in society, but until recently he has tended to overlook the extent to which they are the cement which binds its fabric together.”

Source: The Human Use of Human Beings (1950), p. 26-27 as cited in: Felix Geyer, Johannes van der Zouwen, (1994) " Norbert Wiener and the Social Sciences http://www.critcrim.org/redfeather/chaos/024Weiner.htm", Kybernetes, Vol. 23 Iss: 6/7, pp.46 - 61

William Beckford photo

“I myself have a great desire to watch over thy conduct, and visit the subterranean palace, which, no doubt, contains whatever can interest persons like us. There is nothing so pleasing as retiring to caverns: my taste for dead bodies, and everything like mummy, is decided.”

J'aurois grande envie de voir ce palais souterrein, rempli d'objets intéressans pour les gens de notre espèce; il n'est rien que j'aime autant que les caverns; mon goût pour les cadavres & les momies est décidé.
Source: Vathek, P. 56; translation p. 34.

Joe Bob Briggs photo

“Eleven dead bodies. One dead cat. No breasts.”

Joe Bob Briggs (1953) American film critic, writer, and actor; alter ego of John Bloom

This line is from a review http://www.joebobbriggs.com/drivein/1995/candyman2farewelltotheflesh.htm of Candyman II: Farewell To The Flesh
Similar "summary" lines feature in many of the reviews.
Repeated phrases

Cormac McCarthy photo
Harry Chapin photo
William L. Shirer photo
John Ralston Saul photo
W. Somerset Maugham photo
Carlos Fuentes photo

“The facade of the Conquest, severe yet jocund, with one foot in the dead Old World and the other in the New.”

Describing a Mexican baroque church
The Death of Artemio Cruz (1962)

Matthew Stover photo

“I'm not mad that you got mad when I got mad when you said I should go drop dead.”

Jonathan Larson (1960–1996) American composer and playwright

tick, tick... BOOM! (1990)

Jean Cocteau photo

“I have a piece of great and sad news to tell you: I am dead.”

Jean Cocteau (1889–1963) French poet, novelist, dramatist, designer, boxing manager and filmmaker

"Visite" in Discours du Grand Sommeil (1920); later published in Collected Works Vol. 4 (1947)

Gautama Buddha photo
Jimi Hendrix photo

“The traffic lights, they turn a blue tomorrow
And shine their emptiness down on my bed
The tiny island sags on downstream
Cause the life it lived, is, is dead”

Jimi Hendrix (1942–1970) American musician, singer and songwriter

The Wind Cries Mary
Song lyrics, Are You Experienced? (1967)

John Gray photo
George V of the United Kingdom photo

“After I am dead, the boy will ruin himself in twelve months.”

George V of the United Kingdom (1865–1936) King of the United Kingdom and the British Dominions, and Emperor of India

Statement to Prime Minister Stanley Baldwin, referring to his son, Edward, Prince of Wales
Quoted in Keith Middlemas and John Barnes, Baldwin (1969) ch.34

James Hamilton photo
Brian W. Aldiss photo
Robert E. Howard photo
Henry Van Dyke photo
Patrick Pearse photo
George A. Romero photo
Michael Swanwick photo
Grace Slick photo
P.G. Wodehouse photo
Sueton photo

“No one was allowed to leave the theatre during his recitals, however pressing the reason. We read of women in the audience giving birth, and of men being so bored with listening and applauding that they furtively dropped down from the wall at the rear, since the gates were kept barred, or shammed dead and were carried away for burial.”
Cantante eo ne necessaria quidem causa excedere theatro licitum est. Itaque et enixae quaedam in spectaculis dicuntur et multi taedio audendi laudandique clausis oppidorum portis aut furtim desiluisse de muro aut morte simulata funere elati.

Of Nero's public performances in musical competitions.
Source: The Twelve Caesars, Nero, Ch. 23

John Fante photo
Theodor Mommsen photo

“The fall of the patriciate by no means divested the Roman commonwealth of its aristocratic character. We have already indicated that the plebeian party carried within it that character from the first as well as, and in some sense still more decidedly than, the patriciate; for, while in the old body of burgesses an absolute equality of rights prevailed, the new constitution set out from a distinction between the senatorial houses who were privileged in point of burgess rights and of burgess usufructs, and the mass of the other citizens. Immediately, therefore, on the abolition of the patriciate and the formal establishment of civic equality, a new aristocracy and a corresponding opposition were formed; and we have already shown how the former engrafted itself as it were on the fallen patriciate, and how, accordingly, the first movements of the new party of progress were mixed up with the last movements of the old opposition between the orders. The formation of these new parties began in the fifth century, but they assumed their definite shape only in the century which followed. The development of this internal change is, as it were, drowned amidst the noise of the great wars and victories, and not merely so, but the process of formation is in this case more withdrawn from view than any other in Roman history. Like a crust of ice gathering imperceptibly over the surface of a stream and imperceptibly confining it more and more, this new Roman aristocracy silently arose; and not less imperceptibly, like the current concealing itself beneath and slowly extending, there arose in opposition to it the new party of progress. It is very difficult to sum up in a general historical view the several, individually insignificant, traces of these two antagonistic movements, which do not for the present yield their historical product in any distinct actual catastrophe. But the freedom hitherto enjoyed in the commonwealth was undermined, and the foundation for future revolutions was laid, during this epoch; and the delineation of these as well as of the development of Rome in general would remain imperfect, if we should fail to give some idea of the strength of that encrusting ice, of the growth of the current beneath, and of the fearful moaning and cracking that foretold the mighty breaking up which was at hand. The Roman nobility attached itself, in form, to earlier institutions belonging to the times of the patriciate. Persons who once had filled the highest ordinary magistracies of the state not only, as a matter of course, practically enjoyed all along a higher honour, but also had at an early period certain honorary privileges associated with their position. The most ancient of these was doubtless the permission given to the descendants of such magistrates to place the wax images of these illustrious ancestors after their death in the family hall, along the wall where the pedigree was painted, and to have these images carried, on occasion of the death of members of the family, in the funeral procession.. the honouring of images was regarded in the Italo-Hellenic view as unrepublican, and on that account the Roman state-police did not at all tolerate the exhibition of effigies of the living, and strictly superintended that of effigies of the dead. With this privilege were associated various external insignia, reserved by law or custom for such magistrates and their descendants:--the golden finger-ring of the men, the silver-mounted trappings of the youths, the purple border on the toga and the golden amulet-case of the boys--trifling matters, but still important in a community where civic equality even in external appearance was so strictly adhered to, and where, even during the second Punic war, a burgess was arrested and kept for years in prison because he had appeared in public, in a manner not sanctioned by law, with a garland of roses upon his head.(6) These distinctions may perhaps have already existed partially in the time of the patrician government, and, so long as families of higher and humbler rank were distinguished within the patriciate, may have served as external insignia for the former; but they certainly only acquired political importance in consequence of the change of constitution in 387, by which the plebeian families that attained the consulate were placed on a footing of equal privilege with the patrician families, all of whom were now probably entitled to carry images of their ancestors. Moreover, it was now settled that the offices of state to which these hereditary privileges were attached should include neither the lower nor the extraordinary magistracies nor the tribunate of the plebs, but merely the consulship, the praetorship which stood on the same level with it,(7) and the curule aedileship, which bore a part in the administration of public justice and consequently in the exercise of the sovereign powers of the state.(8) Although this plebeian nobility, in the strict sense of the term, could only be formed after the curule offices were opened to plebeians, yet it exhibited in a short time, if not at the very first, a certain compactness of organization--doubtless because such a nobility had long been prefigured in the old senatorial plebeian families. The result of the Licinian laws in reality therefore amounted nearly to what we should now call the creation of a batch of peers. Now that the plebeian families ennobled by their curule ancestors were united into one body with the patrician families and acquired a distinctive position and distinguished power in the commonwealth, the Romans had again arrived at the point whence they had started; there was once more not merely a governing aristocracy and a hereditary nobility--both of which in fact had never disappeared--but there was a governing hereditary nobility, and the feud between the gentes in possession of the government and the commons rising in revolt against the gentes could not but begin afresh. And matters very soon reached that stage. The nobility was not content with its honorary privileges which were matters of comparative indifference, but strove after separate and sole political power, and sought to convert the most important institutions of the state--the senate and the equestrian order--from organs of the commonwealth into organs of the plebeio-patrician aristocracy.”

Theodor Mommsen (1817–1903) German classical scholar, historian, jurist, journalist, politician, archaeologist and writer

The History of Rome - Volume 2

Jello Biafra photo
Aldo Capitini photo

“From a high tower I have looked to the four points of the horizon.
I will go and lift up the dead on the battlefield.
I will stretch out their contorted arms and legs.
I will close their cold eyelids on their fixed pupils.
I cannot bear to see eyes if I do not receive any words.
Invisible life entrusts us with sad tasks,
I look back to my years, and the pains I have suffered
are not enough.
Soon there will be clashings of men and horrible clanging sounds.
And people hunted, pushed, wrenched.
Also I will find myself in the midst of the madness of war.
I will open pure words, orders of thought, fraternal acts.
In the meantime they will bring forward the man
condemned to death and they will tell him to dig his own grave.
He will look up at the still hills and the sky.
Some distant sounds of life will still reach him.
He will not have time to think back to his many days –
to the voices of his dear people, and the close relationships.
Not even will he be able to look ahead,
to come to terms with what is happening now.
And when the shots will be fired, with the flash a cry will go up
The human cry which is too late, and it’s lost.
To free, to free as soon as possible.
They will ask me: why don’t you come to fight with us?
They will not understand, they will carry on with the war.
I loved to be with other people, as the light of the day.
It is so good to work together, in trust, in mutual help.
To lose myself in the crowd in modest clothes.
In a circle of equals to listen and to speak.
And now nobody wants to listen, and yet they are all people.
I have become a stranger, the others do not know that I am there.
The abrupt reply, the friend who looks the other way.
It would be easy to join them in earnest action.
Forgetting the deeper unity, beyond the war?
I remain here, isolated from everybody,
working for a deeper togetherness.
Everything was only a trial, reality must yet begin.
Every being was partaking of another reality yet he did not know.
But now this reality is becoming clear,
and it matters only what opens us to it.”

Aldo Capitini (1899–1968) Italian philosopher and political activist
Julian of Norwich photo
Jacques Derrida photo

“In order to try to remove what we are going to say from what risks happening, if we judge by the many signs, to Marx's work today, which is to say also to his injunction. What risks happening is that one will try to play Marx off against Marxism so as to neutralize, or at any rate muffle the political imperative in the untroubled exegesis of a classified work. One can sense a coming fashion or stylishness in this regard in the culture and more precisely in the university. And what is there to worry about here? Why fear what may also become a cushioning operation? This recent stereotype would be destined, whether one wishes it or not, to depoliticize profoundly the Marxist reference, to do its best, by putting on a tolerant face, to neutralize a potential force, first of all by enervating a corpus, by silencing in it the revolt [the return is acceptable provided that the revolt, which initially inspired uprising, indignation, insurrection, revolutionary momentum, does not come back]. People would be ready to accept the return of Marx or the return to Marx, on the condition that a silence is maintained about Marx's injunction not just to decipher but to act and to make the deciphering [the interpretation] into a transformation that "changes the world. In the name of an old concept of reading, such an ongoing neutralization would attempt to conjure away a danger: now that Marx is dead, and especially now that Marxism seems to be in rapid decomposition, some people seem to say, we are going to be able to concern ourselves with Marx without being bothered-by the Marxists and, why not, by Marx himself, that is, by a ghost that goes on speaking. We'll treat him calmly, objectively, without bias: according to the academic rules, in the University, in the library, in colloquia! We'll do it systematically, by respecting the norms of hermeneutical, philological, philosophical exegesis. If one listens closely, one already hears whispered: "Marx, you see, was despite everything a philosopher like any other; what is more [and one can say this now that so many Marxists have fallen silent], he was a great-philosopher who deserves to figure on the list of those works we assign for study and from which he has been banned for too long.29 He doesn't belong to the communists, to the Marxists, to the parties-, he ought to figure within our great canon of Western political philosophy. Return to Marx, let's finally read him as a great philosopher."”

We have heard this and we will hear it again.
Injunctions of Marx
Specters of Marx (1993)

Henry Wadsworth Longfellow photo
Steven Erikson photo
Francis Thompson photo
Paul Tillich photo
Karen Blixen photo
Noel Coward photo

“[On the phone] "My dear Jim's dead…No dear, he jumped off Waterloo Bridge - Yes, the one next to Charing Cross - No, no, no that's Blackfriars."”

Noel Coward (1899–1973) English playwright, composer, director, actor and singer

Early review, cited in Frank Muir's Book of Comedy Sketches.

Percy Bysshe Shelley photo
Edward St. Aubyn photo
Helen Nearing photo
William Julius Mickle photo