“I gather a repulsive nobody writing in a paper no one of any decency would be seen dead with has written something loathesome and inhumane.”

— Stephen Fry

On Jan Moir's column on the death of Stephen Gately.
Quoted in The Huffington Post http://www.huffingtonpost.com/2009/10/16/jan-moir-column-on-stephe_n_323964.html
2000s

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Stephen Fry 93

English comedian, actor, writer, presenter, and activist 1957

Susanna Kaysen book Girl, Interrupted

Girl, Interrupted (1994)
Context: It’s important to cultivate detachment. One way to do this is to practice imagining yourself dead, or in the process of dying. If there’s a window, you must imagine your body falling out the window. If there’s a knife, you must imagine the knife piercing your skin. If there’s a train coming, you must imagine your torso flattened under its wheels. These exercises are necessary to achieving the proper distance. The motive is paramount. Without a strong motive, you’re sunk. My motives were weak: an American-history paper I didn’t want to write and the question I’d asked months earlier, Why not kill myself? Dead, I wouldn’t have to write the paper. Nor would I have to keep debating the question.

“Life would be a great deal easier if dead things had the decency to remain dead.”

Doug MacLeod (1959) Australian writer

“Nobody would say the cowshed was heaven and nobody would say the inhuman torture of so many victims be called a revolution of the proletariat.”

Ba Jin (1904–2005) Chinese novelist

As quoted in Pioneers of Modern China : Understanding the Inscrutable Chinese (2005) by Khoon Choy Lee
Context: Nobody would say the cowshed was heaven and nobody would say the inhuman torture of so many victims be called a revolution of the proletariat. … A museum should be established to remind China of the follies and disasters that had fallen from 1966 to 1976. We cannot forget what had happened and history should not repeat itself.

“Beautifully written... the webs of imagery that Harris has so carefully woven... contains writing of which our best writers would be proud... there is not a singly ugly or dead sentence...”

Martin Amis (1949) Welsh novelist

or so sang the critics. Hannibal is a genre novel, and all genre novels contain dead sentences - unless you feel the throb of life in such periods as 'Tommaso put the lid back on the cooler' or 'Eric Pickford answered' or 'Pazzi worked like a man possessed' or 'Margot laughed in spite of herself' or 'Bob Sneed broke the silence.' What these commentators must be thinking of, I suppose, are the bits when Harris goes all blubbery and portentous (every other phrase a spare tyre), or when, with a fugitive poeticism, he swoons us to a dying fall: 'Starling looked for a moment through the wall, past the wall, out to forever and composed herself...' 'It seemed forever ago...' 'He looked deep, deep into her eyes...' 'His dark eyes held her whole...' Needless to say, Harris has become a serial murderer of English sentences, and Hannibal is a necropolis of prose.
Review of Hannibal by Thomas Harris, p. 240
The War Against Cliché: Essays and Reviews 1971-2000 (2001)