The Murderer (1953)
The Golden Apples of the Sun (1953)
Context: Then I went in and shot the televisor, that insidious beast, that Medusa, which freezes a billion people to stone every night, staring fixedly, that Siren which called and sang and promised so much and gave, after all, so little, but myself always going back, going back hoping and waiting until—bang!
Source: City of Fallen Angels
Source: Sense and Sensibility
“Matthew, exactly how psychic are you?
So psychic that other psychics should be called Mattics.”
Source: Poison Princess
Source: Zen and the Art of Motorcycle Maintenance: An Inquiry Into Values
“Never call anyone a baboon unless you are sure of your facts.”
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.
“People always call it luck when you’ve acted more sensibly than they have.”
“Call no day fortunate till it be ended.”
Nulla dies felix
The Fifth Queen Crowned
“Don't live the same year 75 times and call it a life.”
“There is only one genre in fiction, the genre is called book.”
Source: The Humans
Source: City of Fallen Angels
Source: Magic Burns
Source: Laughing Without an Accent: Adventures of an Iranian American, at Home and Abroad
“I'm so unfamiliar with the gym, I call it James!”
As translated by William Scott Wilson. This first sentence of this passage was used as a military slogan during the early 20th century to encourage soldiers to throw themselves into battle. Variant translations:
Bushido is realised in the presence of death. In the case of having to choose between life and death you should choose death. There is no other reasoning. Move on with determination. To say dying without attaining ones aim is a foolish sacrifice of life is the flippant attitude of the sophisticates in the Kamigata area. In such a case it is difficult to make the right judgement. No one longs for death. We can speculate on whatever we like. But if we live without having attaining that aim, we are cowards. This is an important point and the correct path of the Samurai. When we calmly think of death morning and evening and are in despair, We are able to gain freedom in the way of the Samurai. Only then can we fulfil our duty without making mistakes in life.
By the Way of the warrior is meant death. The Way of the warrior is death. This means choosing death whenever there is a choice between life and death. It means nothing more than this. It means to see things through, being resolved.
I have found that the Way of the samurai is death. This means that when you are compelled to choose between life and death, you must quickly choose death.
The way of the Samurai is in death.
I have found the essence of Bushido: to die!
Hagakure (c. 1716)
Source: Hagakure: The Book of the Samurai
Context: The Way of the Samurai is found in death. When it comes to either/or, there is only the quick choice of death. It is not particularly difficult. Be determined and advance. To say that dying without reaching one's aim is to die a dog's death is the frivolous way of sophisticates. When pressed with the choice of life or death, it is not necessary to gain one's aim.
We all want to live. And in large part we make our logic according to what we like. But not having attained our aim and continuing to live is cowardice. This is a thin dangerous line. To die without gaining one's aim is a dog's death and fanaticism. But there is no shame in this. This is the substance of the Way of the Samurai. If by setting one's heart right every morning and evening, one is able to live as though his body were already dead, he gains freedom in the Way. His whole life will be without blame, and he will succeed in his calling.
Statements to reporters during an interview on a golf course (August 4, 2002); publicized in the film Fahrenheit 9/11 (2004) by Michael Moore, and also quoted at Common Ground (July 2004) http://www.commonground.ca/iss/0407156/fww.shtml
2000s, 2002
Source: My Horizontal Life: A Collection of One-Night Stands (2005)
“It doesn't matter what people call you unless they call you pigeon pie and eat you up.”
Part 2, Chapter 3
Brideshead Revisited (1945)
Source: Brideshead Revisited: The Sacred and Profane Memories of Captain Charles Ryder
“I'm in a wild mood tonight. I want to go dance in the foam. I hear the banshees calling.”
Hyperion http://www.gutenberg.org/etext/5436, Bk. III, Ch. IV (1839).
Variant: Believe me, every heart has its secret sorrows, which the world knows not, and oftentimes we call a man cold, when he is only sad.
Context: "Ah! this beautiful world!" said Flemming, with a smile. "Indeed, I know not what to think of it. Sometimes it is all gladness and sunshine, and Heaven itself lies not far off. And then it changes suddenly; and is dark and sorrowful, and clouds shut out the sky. In the lives of the saddest of us, there are bright days like this, when we feel as if we could take the great world in our arms and kiss it. Then come the gloomy hours, when the fire will neither burn on our hearths nor in our hearts; and all without and within is dismal, cold, and dark. Believe me, every heart has its secret sorrows, which the world knows not, and oftentimes we call a man cold, when he is only sad."
Unspecified edition, p. 225.
Source: On Beauty (2005)
Source: The Celestine Prophecy
“I'm William, but you can call me Sexy. Everyone does.”
Source: The Darkest Kiss
Source: Minor Characters: A Beat Memoir
“If,' Roland said. 'An old teacher of mine used to call it the only word a thousand letters long.”
Source: Wolves of the Calla
“If you can not answer a man's argument, all is not lost; you can still call him vile names.”
Source: Darkly Dreaming Dexter
Source: The Adventures of Sherlock Holmes
“Confound my genteel upbringing! I could not think of any name foul enough to call him.”
Source: The Case of the Left-Handed Lady
“Ah, you coward! Look at you, running."
"Actually, it's called improvising.”
Source: Heroes of the Valley
Quoted in the Manchester Guardian (31 December 1977), and Simpson’s Contemporary Quotations (1988) https://web.archive.org/web/20000709051930/http://www.bartleby.com/63/90/4790.html edited by James B. Simpson; Says Who?: A Guide To The Quotations Of The Century (1988) by Jonathon Green, p. 17 http://books.google.com/books?id=xUwOAQAAMAAJ&q=%22When+childhood+dies,+its+corpses+are+called+adults%22&dq=%22When+childhood+dies,+its+corpses+are+called+adults%22&hl=en&sa=X&ei=KZO4U_WwFJSlqAaquoKoCg&ved=0CK0BEOgBMBk and The Concise Columbia Dictionary of Quotations (1989), p. 45 http://books.google.com/books?id=bs0J36MpieIC&pg=PA45&dq=%22When+childhood+dies,+its+corpses+are+called+adults%22&hl=en&sa=X&ei=KZO4U_WwFJSlqAaquoKoCg&ved=0CEkQ6AEwBw#v=onepage&q=%22When%20childhood%20dies%2C%20its%20corpses%20are%20called%20adults%22&f=false
… The twenty-five percent is for error.
Pauling's reply to an audience question about his ethical system, following his lecture circa 1961 at Monterey Peninsula College, in Monterey, California.
1990s
Source: Magic Slays
Source: Jitterbug Perfume (1984)
“I call people rich when they're able to meet the requirements of their imagination.”
Source: The Portrait of a Lady
Source: The Sweetest Thing
