“The world is but a perpetual see-saw.”

Source: The History of Rasselas, Prince of Abissinia (1759), Chapter 47

Until When We Are Ghosts (2006), My Life Changed

E Unibus Pluram: Television and U.S. Fiction
Essays
Source: A Supposedly Fun Thing I'll Never Do Again: Essays and Arguments
Context: The emergence of something called Metafiction in the American '60s was hailed by academic critics as a radical aesthetic, a whole new literary form, literature unshackled from the cultural cinctures of mimetic narrative and free to plunge into reflexivity and self-conscious meditations on aboutness. Radical it may have been, but thinking that postmodern Metafiction evolved unconscious of prior changes in readerly taste is about as innocent as thinking that all those college students we saw on television protesting the Vietnam war were protesting only because they hated the Vietnam war (They may have hated the war, but they also wanted to be seen protesting on television. TV was where they'd seen the war, after all. Why wouldn't they go about hating it on the very medium that made their hate possible?) Metafictionists may have had aesthetic theories out the bazoo, but they were also sentient citizens of a community that was exchanging an old idea of itself as a nation of do-ers and be-ers for a new vision of the U. S. A. as an atomized mass of self-conscious watchers and appearers. For Metafiction, in its ascendant and most important phases, was really nothing more than a single-order expansion of its own theoritcal nemesis, Realism: if Realism called it like it saw it, Metafiction simply called it as it saw itself seeing it. This high-cultural postmodern genre, in other words, was deeply informed by the emergence of television and the metastasis of self-conscious watching.

"The Deluge at Norderney"
Seven Gothic Tales (1934)

Quote from Courbet's letter to his parents (1841); as quoted in Image of the Sea: Oceanic Consciousness in the Romantic Century, Howard F. Isham, publisher: Peter Lang, 2004, Chapter 'Waterworlds', p. 307
reporting his experiences of a boat-trip with a friend over the Seine to the port of Le Havre; he made also a sketchbook of this trip in the Summer of 1841
1840s - 1850s

"Complete Hero" (2009)

Source: Generation Loss (2007), Ch. 1
Context: I had from earliest childhood a sense that there was no skin between me and the world. I saw things other people didn't see. Hands that slipped through the gaps in the air like falling leaves; a jagged outline like a branch but there was no branch and no tree. In bed at night I heard a voice repeating my name in a soft, insistent monotone. Cass. Cass. Cass. My father took me to a doctor, who said I'd grow out of it. I never did, really.

Source: Stillness Speaks (2003), Ch 1

"The Wonderful, Weird Economy of Burning Man" in The Atlantic (18 August 2014) https://www.theatlantic.com/business/archive/2014/08/the-wonderful-weird-economics-of-burning-man/376108/
Context: We don’t think the world can be Woodstock … Who’d think the world could be a perpetual carnival? But we do think that the world could rediscover values that used to be automatically produced by culture but aren’t anymore because culture is subject to the commodification in our world. Everything is sold back to us, targeted to demographics. What we have to do is make progress in the quality of connection between people, not the quantity of consumption.