The Great Wall of Mars (p. 37)
Short fiction, Galactic North (2006)
Maeve Gilmore (his widow), Introduction to A Book of Nonsense, p. 10
Simon, about Jace, pg. 50-51
The Mortal Instruments, City of Ashes (2008)
On Truth and Lie in an Extra-Moral Sense (1873)
Context: The various languages placed side by side show that with words it is never a question of truth, never a question of adequate expression; otherwise, there would not be so many languages. The "thing in itself" (which is precisely what the pure truth, apart from any of its consequences, would be) is likewise something quite incomprehensible to the creator of language and something not in the least worth striving for. This creator only designates the relations of things to men, and for expressing these relations he lays hold of the boldest metaphors.' To begin with, a nerve stimulus is transferred into an image: first metaphor. The image, in turn, is imitated in a sound: second metaphor. And each time there is a complete overleaping of one sphere, right into the middle of an entirely new and different one.
Source: The Fountains of Paradise (1979), Chapter 53 “Fade-Out” (pp. 272-273)
Source: Death in Venice (1912), Ch. 4, as translated by David Luke
“Death never takes the wise man by surprise, he is always ready to go.”
La mort ne surprend point le sage:
Il est toujours prêt à partir.
Book VIII (1678-1679), fable 1.
Fables (1668–1679)
Henri-Louis Duhamel du Monceau (1776) l’"Art de l’Épinglier" (The Art of the Pin-Maker). Introduction
“God is indeed dead.
He died of self-horror
when He saw the creature He had made
in His own image.”
Aphs.
The Whole Bloody Bird (1969)
