Foreword p. 9
The Sword or the Cross, Which Should be the Weapon of the Christian Militant? (1921)
Context: Struggles between nations and struggles between classes we shall surely have during the coming decades. All indications point to further wars between nations. The struggle between capital and labor is daily growing in intensity.... It may be that we shall witness scenes surpassing in horror even those of the recent war.
Macbride v. Macbride (1805), 4 Esp. 242.
“To me the scene possessed only the horror of a slaughter-house.”
South America To-Day : A Study of Conditions, Social, Political, and Commercial in Argentina, Uruguay and Brazil (1911) http://www.archive.org/details/southamericatoda011092mbp Ch. 14, Brazilian Coffee, p. 395
Context: In the distance huge trees were still blazing, around us was a waste of ashes and of half-consumed boughs, and the falling rain seemed only to quicken the dying conflagration. In some of the great green boles were fearful gaping wounds through which the sap was oozing, while some tall trees still stretched to heaven their triumphant crown of foliage above a trunk all charred that would never sprout again. The Brazilians contemplate spectacles such as this with a wholly indifferent eye, and, indeed, even with satisfaction, for they see in the ruin only a promise of future harvests. To me the scene possessed only the horror of a slaughter-house.
Speech at the Opening of the Bandung Conference
Article in The Nation newspaper on 6 December, 1845, an article entitled "Oregon—Ireland", in reference to the dispute then pending between England and America about Oregon.
Message to the Tricontinental (1967)
Source: Writings, The Institutes of Biblical Law (1973), p. 574
“Make no mistake: I didn’t create the scene, I just witnessed and transcribed it.”
"Changing the Channel" (11 June 2010) http://www.jmdematteis.com/2010/06/changing-channel.html
J.M. DeMatteis's CREATION POINT (2009 – present)
Context: We’re not really the authors of our work: we’re channels, tuning into another frequency, another dimension, and bringing that information down into the physical world, where — using the tools, the talents and perspectives that are uniquely ours — we transcribe and embellish that information, transforming it into that wonderful creature called a Story.
In the end, it doesn’t matter whether the transmission is instant or unfolds slowly, it’s the opening up that’s so magical. That moment of realizing that you’re connected to something so much bigger than yourself. I remember, years ago, when I was just beginning work on Moonshadow, standing in the shower — mouth open, eyes glazed, still as a statue — watching the ending of the series play out on the movie screen of my psyche. Make no mistake: I didn’t create the scene, I just witnessed and transcribed it.
Beckmann's Diary, 12 September 1940, Amsterdam; as quoted on: 'Arts in exile' http://kuenste-im-exil.de
1940s
Speech (1921), quoted in Blanche E. C. Dugdale, Arthur James Balfour, First Earl of Balfour, K.G., O.M., F.R.S., Etc. 1906–1930 (London: Hutchinson & Co. Ltd, 1936), p. 230.
