““You see, Ebenezer, charity begs a crucial question. How did the bestower attain the position from which he now exercises his largesse?” My dead colleague cleaned his teeth with one of his many appended keys. “Through imagination and merit? Or through inherited privilege and ruthless exploitation?””

— James K. Morrow

"The Confessions of Ebenezer Scrooge" p. 158 (originally published in Spirits of Christmas: Twenty Otherworldly Tales, edited by Kathryn Cramer and David G. Hartwell)
Short fiction, Bible Stories for Adults (1996)

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James K. Morrow166

(1947-) science fiction author 1947

Avram Davidson (1923–1993) novelist

Vergil in Averno (1987)

“God gives his grace freely, in the strictest sense of the word, and without merit on the part of man. For if God did not bestow his grace in this perfectly gratuitous manner, but on account of some subordinate contingent uncertain cause, he could not possibly foresee how he should bestow his free gifts.”

Thomas Bradwardine (1300–1349) Theologian; Archbishop of Canterbury

De causa Dei contra Pelagium

“In his house he had a large looking-glass, before which he would stand and go through his exercises.”

Plutarch (46–127) ancient Greek historian and philosopher

Life of Demosthenes
Bartlett's Familiar Quotations, 10th ed. (1919)

“Wanting to obey Christ but lacking his imagination, we reinterpret the mission of the church through the only framework comprehendible to us--the one we've inherited from our consumer culture.”

Skye Jethani

The Divine Commodity: Discovering A Faith Beyond Consumer Christianity (2009, Zondervan)

“He asked three things of his men. That they fought, as he did, with a ruthless professionalism. That they stole only from the enemy and the dead unless they were starving. And that they never got drunk without his permission.”

Bernard Cornwell (1944) British writer

Lieutenant Richard Sharpe, p. 15
Sharpe (Novel Series), Sharpe's Eagle (1981)

“He’s always known the real way to money is not through production but through control; “The hotel owner gets rich owning the keys, the maids stay poor keeping the toilets clean,” as one of his biz profs back at Madison used to say.”

John Barnes book Mother of Storms

Source: Mother of Storms (1994), p. 462

“Ruthven surmised that he had hit upon some of the central deceptions which had wrecked him and reduced him and so many of his colleagues to this condition. To surmise was not to conquer, of course; he was as helpless as ever but there was a dim liberation in seeing how he had been lied to, and he felt that at least he could take one thing from the terrible years through which he had come: he was free of self-delusion.”

Barry N. Malzberg (1939) American novelist, short story writer

Source: Corridors (1982), p. 145 in The Nebula Awards 18 edited by Robert Silverberg

“Besides the ‘how many?’ question, Empedocles seems to be answering two other ancient questions: ‘How did the world come to be as it now is?’ and ‘How did it come to have the creatures that it now has?’. [...] His answers are subtle and intricate.”

Catherine Rowett (1956) Professor of Philosophy at the University of East Anglia (born 1956)

Source: Presocratic Philosophy: A Very Short Introduction (2004), Ch. 1 : Lost words, forgotten worlds

“Though man comes from the dust, sin is not a part of his nature. Man can overcome sin, and through repentance attain to at-one-ment with his Maker.”

Joseph H. Hertz (1872–1946) British rabbi

Genesis II, 7 (p. 7)
The Pentateuch and Haftorahs (one-volume edition, 1937, ISBN 0-900689-21-8

“If the man who paints only the tree, or flower, or other surface he sees before him were an artist, the king of artists would be the photographer. It is for the artist to do something beyond this: in portrait painting to put on canvas something more than the face the model wears for that one day: to paint the man, in short, as well as his features; in arrangement of colours to treat a flower as his key, not as his model. This is now understood indifferently well – at least by dressmakers. In every costume you see attention is paid to the key-note of colour which runs through the composition, as the chant of the Anabaptists through the 'Prophète', or the Hugenots' hymn in the opera of that name.”

James McNeill Whistler (1834–1903) American-born, British-based artist

In a letter to 'The World', London 22 Mai, 1878; as quoted in Letters of the great artists – from Blake to Pollock, Richard Friedenthal, Thames and Hudson, London, 1963, p. 186
1870 - 1903

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