
"Jonathan Bailey: Jonathan Bailey: ‘I’m more in awe of musical theatre actors now than ever’" in The Stage https://www.thestage.co.uk/features/jonathan-bailey-im-more-in-awe-of-musical-theatre-actors-now-than-ever (27 October 2016)
Catherine Earnshaw (Ch. IX).
Source: Wuthering Heights (1847)
"Jonathan Bailey: Jonathan Bailey: ‘I’m more in awe of musical theatre actors now than ever’" in The Stage https://www.thestage.co.uk/features/jonathan-bailey-im-more-in-awe-of-musical-theatre-actors-now-than-ever (27 October 2016)
“All my life through, the new sights of Nature made me rejoice like a child.”
Pierre Curie (1923), as translated by Charlotte Kellogg and Vernon Lyman Kellogg, p. 162
Words I Wish I Wrote (1997)
Context: My convictions have validity for me because I have experimented with the compounds of ideas of others in the laboratory of my mind. And I've tested the results in the living out of my life. At twenty-one, I had drawn an abstract map based on the evidence of others. At sixty, I have accumulated a practical guide grounded in my own experience. At twenty-one, I could discuss transportation theory with authority. At sixty, I know which bus to catch to go where, what the fare is, and how to get back home again. It is not my bus, but I know how to use it.
Source: Darkness Visible (1990), II
Context: When I was a young writer there had been a stage where Camus, almost more than any other contemporary literary figure, radically set the tone for my own view of life and history. I read his novel The Stranger somewhat later than I should have — I was in my early thirties — but after finishing it I received the stab of recognition that proceeds from reading the work of a writer who has wedded moral passion to a style of great beauty and whose unblinking vision is capable of frightening the soul to its marrow. The cosmic loneliness of Meursault, the hero of that novel, so haunted me that when I set out to write The Confessions of Nat Turner I was impelled to use Camus’s device of having the story flow from the point of view of a narrator isolated in his jail cell during the hours before his execution. For me there was a spiritual connection between Meursault’s frigid solitude and the plight of Nat Turner — his rebel predecessor in history by a hundred years — likewise condemned and abandoned by man and God. Camus’s essay “Reflections on the Guillotine” is a virtually unique document, freighted with terrible and fiery logic; it is difficult to conceive of the most vengeful supporter of the death penalty retaining the same attitude after exposure to scathing truths expressed with such ardor and precision. I know my thinking was forever altered by that work, not only turning me around completely, convincing me of the essential barbarism of capital punishment, but establishing substantial claims on my conscience in regard to matters of responsibility at large. Camus was a great cleanser of my intellect, ridding me of countless sluggish ideas, and through some of the most unsettling pessimism I had ever encountered causing me to be aroused anew by life’s enigmatic promise.
Democracy Now! interview (2005)
Context: Between the years of 1988 to 1994, and it's a continuous — it's an incessant reality for me. My redemptive transition began in solitary confinement, and unlike other people who express their experiences of an epiphany or a satori, I never experienced anything of that ilk. Mine — that wouldn't have been enough. I often tell people that I didn't have a 360-degree turnaround; I had a 720-degree turnaround. It took me twice as much. Just one spin around wouldn't have done it. I was that messed up, that lost, that mentacided, brainwashed. So, I was able to gradually in a piecemeal fashion change my life slowly but surely through education, through edification, through spiritual cultivation, battling my demons. And eventually, that led to me embracing redemption.
Source: It's Not Easy Bein' Me: A Lifetime of No Respect But Plenty of Sex and Drugs (2004), p. 6