Quotes about catalogue

A collection of quotes on the topic of catalogue, thing, work, working.

Quotes about catalogue

Terry Pratchett photo
Eleanor Roosevelt photo

“I had a rose named after me and I was very flattered. But I was not pleased to read the description in the catalogue: "No good in a bed, but fine against a wall."”

Eleanor Roosevelt (1884–1962) American politician, diplomat, and activist, and First Lady of the United States

From a speech given at the White Shrine Club, Fresno, California, quoted in The Event Makers I’ve Known (2012) by Elvin C. Bell, p. 161. She is described as being in her late 70s, so c. 1960–1962

Emil M. Cioran photo
Novalis photo
H.P. Lovecraft photo

“I endorse all that you say of the superior intelligence of the felidae. Never have I been able to associate the docile servility and satellitism of the canidae with mental power. Zoölogists seem to consider the cerebration of cats and dogs about 50-50—but my respect always goes to the cool, sure, impersonal, delicately poised feline who minds his business and never slobbers—the aristocratic, epicurean philosopher who knows what he wants and tells interlopers to go to hell. There is no credit in having a dog attached to one—for a dog can be conditioned to become anybody's slave and property. But a cat is nobody's slave. You do not own a cat. If one lives in your home, it is because he regards your way of life favourably, and accepts you as a friend, as one gentleman accepts another. He takes no kicks or insolence from anyone. If you are not worthy to associate with him, he will depart to seek an environment more suited to a gentleman's taste. Therefore he who retains the respect and companionship of a feline has proven himself to be essentially a superior citizen. For a human being, membership in the Kappa Alpha Tau forms a badge of distinction. Many are the eminent names on that member ship list—Mahomet himself, Richelieu, Poe, Baudelaire... one could catalogue them endlessly. Certainly, I ask no greater honour than to be accounted a citizen of Ulthar beyond the River Skai!”

H.P. Lovecraft (1890–1937) American author

Letter to E. Hoffmann Price (29 July 1936), published in Selected Letters Vol. V, p. 290
Non-Fiction, Letters, to E. Hoffmann Price

H.P. Lovecraft photo

“Inconceivable events and conditions form a class apart from all other story elements, and cannot be made convincing by any mere process of casual narration. They have the handicap of incredibility to overcome; and this can be accomplished only through a careful realism in every other phase of the story, plus a gradual atmospheric or emotional build-up of the utmost subtlety. The emphasis, too, must be kept right—hovering always over the wonder of the central abnormality itself. It must be remembered that any violation of what we know as natural law is in itself a far more tremendous thing than any other event or feeling which could possibly affect a human being. Therefore in a story dealing with such a thing we cannot expect to create any sense of life or illusion of reality if we treat the wonder casually and have the characters moving about under ordinary motivations. The characters, though they must be natural, should be subordinated to the central marvel around which they are grouped. The true "hero" of a marvel tale is not any human being, but simply a set of phenomena. Over and above everything else should tower the stark, outrageous monstrousness of the one chosen departure from Nature. The characters should react to it as real people would react to such a thing if it were suddenly to confront them in daily life; displaying the almost soul-shattering amazement which anyone would naturally display instead of the mild, tame, quickly-passed-over emotions prescribed by cheap popular convention. Even when the wonder is one to which the characters are assumed to be used, the sense of awe, marvel, and strangeness which the reader would feel in the presence of such a thing must somehow be suggested by the author.... Atmosphere, not action, is the thing to cultivate in the wonder story. We cannot put stress on the bare events, since the unnatural extravagance of these events makes them sound hollow and absurd when thrown into too high relief. Such events, even when theoretically possible or conceivable in the future, have no counterpart or basis in existing life and human experience, hence can never form the groundwork of an adult tale. All that a marvel story can ever be, in a serious way, is a vivid picture of a certain type of human mood. The moment it tries to be anything else it becomes cheap, puerile, and unconvincing. Therefore a fantastic author should see that his prime emphasis goes into subtle suggestion—the imperceptible hints and touches of selective and associative detail which express shadings of moods and build up a vague illusion of the strange reality of the unreal—instead of into bald catalogues of incredible happenings which can have no substance or meaning apart from a sustaining cloud of colour and mood-symbolism. A serious adult story must be true to something in life. Since marvel tales cannot be true to the events of life, they must shift their emphasis toward something to which they can be true; namely, certain wistful or restless moods of the human spirit, wherein it seeks to weave gossamer ladders of escape from the galling tyranny of time, space, and natural laws.”

H.P. Lovecraft (1890–1937) American author

"Some Notes on Interplanetary Fiction", Californian 3, No. 3 (Winter 1935): 39-42. Published in Collected Essays, Volume 2: Literary Criticism edited by S. T. Joshi, p. 178
Non-Fiction

Greg Egan photo
Georg Christoph Lichtenberg photo

“A book which, above all others in the world, should be forbidden, is a catalogue of forbidden books.”

Georg Christoph Lichtenberg (1742–1799) German scientist, satirist

As quoted in A Dictionary of Scientific Quotations (1991) edited by Alan Lindsay Mackay, p. 153

Mark Rothko photo
George Savile, 1st Marquess of Halifax photo
George Steiner photo
James Baldwin photo
Paul Klee photo
Courtney Love photo

“I’ve protected it [the Nirvana catalogue] from everything from Kentucky Fried Chicken commercials to movies about board games. We’ve been offered $6 million for 18 seconds of one Nirvana song and I turned it down.”

Courtney Love (1964) American punk singer-songwriter, musician, actress, and artist

On managing the Nirvana catalogue, The Sydney Morning Herald (11 August 2014)
2014–2017

Paul Weller (singer) photo
Greg Egan photo

“Every night, at exactly a quarter past three, something dreadful happens on the street outside our bedroom window. We peek through the curtains, yawning and shivering in the life-draining chill, and then we clamber back beneath the blankets without exchanging a word, to hug each other tightly and hope for sound sleep before it's time to rise.

Usually what we witness verges on the mundane. Drunken young men fighting, swaying about with outstretched knives, cursing incoherently. Robbery, bashings, rape. We wince to see such violence, but we can hardly be shocked or surprised any more, and we're never tempted to intervene: it's always far too cold, for a start! A single warm exhalation can coat the window pane with mist, transforming the most stomach-wrenching assault into a safely cryptic ballet for abstract blobs of light.

On some nights, though, when the shadows in the room are subtly wrong, when the familiar street looks like an abandoned film set, or a painting of itself perversely come to life, we are confronted by truly disturbing sights, oppressive apparitions which almost make us doubt we're awake, or, if awake, sane. I can't catalogue these visions, for most, mercifully, are blurred by morning, leaving only a vague uneasiness and a reluctance to be alone even in the brightest sunshine.”

Greg Egan (1961) Australian science fiction writer and former computer programmer

Scatter My Ashes http://gregegan.customer.netspace.net.au/HORROR/SCATTER/Scatter.html, published in Interzone (Spring 1988)
Fiction

John Keats photo
Gail Levin photo

“By definition, a catalogue raissonne employs methodical scholarship to gather and digest in systematic form all that can be known of an artist's work and life. In short the evidence of his intellectual and cultural life.”

Gail Levin (1948) art historian

Introduction -'Edward Hopper-an intimate biography' University of California Press, Berkeley, 1995 ISBN 0520214757

Enoch Powell photo

“I am one of what must be an increasing number who find the portentous moralisings of A. Solzhenitsyn a bore and an irritation. Scarcely any aspect of life in the countries where he passes his voluntary exile has failed to incur his pessimistic censure. Coming from Russia, where freedom of the press has been not so much unknown as uncomprehended since long before the Revolution, he is shocked to discover that a free press disseminated all kinds of false, partial and invented information and that journalists contradict themselves from one day to the next without shame and without apology. Only a Russian would find all that surprising, or fail to understand that freedom which is not misused is not freedom at all.

Like all travellers he misunderstands what he observes. It simply is not true that ‘within the Western countries the press has become more powerful than the legislative power, the executive and the judiciary’. The British electorate regularly disprove this by electing governments in the teeth of the hostility and misrepresentation of virtually the whole of the press. Our modern Munchhausen has, however, found a more remarkable mare’s nest still: he has discovered the ‘false slogan, characteristic of a false era, that everyone is entitled to know everything’. Excited by this discovery he announces a novel and profound moral principle, a new addendum to the catalogue of human rights. ‘People,’ he says, ‘have a right not to know, and it is a more valuable one.’ Not merely morality but theology illuminates the theme: people have, say Solzhenitsyn, ‘the right not to have their divine souls’ burdened with ‘the excessive flow of information’.

Just so. Whatever may be the case in Russia, we in the degenerate West can switch off the radio or television, or not buy a newspaper, or not read such parts of it as we do not wish to. I can assure Solzhenitsyn that the method works admirably, ‘right’ or ‘no right’. I know, because I have applied it with complete success to his own speeches and writings.”

Enoch Powell (1912–1998) British politician

Letter in answer to Solzhenitsyn's Harvard statement (21 June 1978), from Reflections of a Statesman. The Writings and Speeches of Enoch Powell (London: Bellew, 1991), p. 577
1970s

Isa Genzken photo
Winston S. Churchill photo

“War is mainly a catalogue of blunders.”

Winston S. Churchill (1874–1965) Prime Minister of the United Kingdom

On the Soviet Union’s failure to form a united Balkan front against Hitler ; in The Second World War, Volume III : The Grand Alliance (1950) Chapter 20 (The Soviet Nemesis).
Post-war years (1945–1955)

E. W. Hobson photo
Henry David Thoreau photo
W. Somerset Maugham photo
Gloria Estefan photo
Poul Anderson photo

“Sincerity is the most overrated virtue in the catalogue.”

Poul Anderson (1926–2001) American science fiction and fantasy writer

Star of the Sea (p. 637)
Time Patrol

Giorgio Morandi photo
Robert Penn Warren photo
Willa Cather photo
Emil M. Cioran photo
Charles Brockden Brown photo
Orson Pratt photo
Margaret Mead photo
Hans Haacke photo
Bernard Harcourt photo
Winston S. Churchill photo
Max Ernst photo

“It's bad to use words like 'genius' unless you are talking about the late Jean-Michel Basquiat, the black Chatterton of the 80s who, during a picturesque career as sexual hustler, addict and juvenile art-star, made a superficial mark on the cultural surface by folding the conventions of street graffiti into those of art brut before killing himself with an overdose at the age of twenty-seven. The first stage of Basquiat's fate, in the mid-80s, was to be effusively welcomed by an art industry so trivialized by fashion and blinded by money that it couldn't tell a scribble from a Leonardo. Its second stage was to be dropped by the same audience, when the novelty of his work wore off. The third was an attempt at apotheosis four years after his death, with a large retrospective at the Whitney Museum designed to sanitise his short, frantic life and position him as a kind of all-purpose, inflatable martyr-figure, thus restoring the dollar value of his oeuvre in a time of collapsing prices for American contemporary art. One contributor to the catalogue proclaimed that "Jean remains wrapped in the silent purple toga of immortality"; another opined that "he is as close to Goya as American painting has ever produced." A third, not to be outdone, extolled Basquiat's "punishing regime of self-abuse" as part of "the disciplines imposed by the principle of inverse ascetism to which he was so resolutely committed."”

Robert Hughes (1938–2012) Australian critic, historian, writer

These disciplines of inverse ascetism, one sees, mean shooting smack until you drop dead.
Page 195
Culture of Complaint (1993)

Stephen King photo
James A. Garfield photo

“After nearly a quarter of a century of prosperity under the Constitution, the spirit of slavery so far triumphed over the early principles and practices of the government that, in 1812, South Carolina and her followers in Congress succeeded in inserting the word 'white' in the suffrage clause of the act establishing a territorial government for Missouri. One by one the Slave States, and many of the free States, gave way before the crusade of slavery against negro citizenship. In 1817, Connecticut caught the infection, and in her constitution she excluded the negro from the ballot-box. In every other New England State his ancient right of suffrage has remained and still remains undisturbed. Free negroes voted in Maryland till 1833; in North Carolina, till 1835; in ennsylvania, till 1838. It was the boast of Cave Johnson of Tennessee that he owed his election to Congress in 1828 to the free negroes who worked in his mills. They were denied the suffrage in 1834, under the new constitution of Tennessee, by a vote of thirty-three to twenty-three. As new States were formed, their constitutions for the most part excluded the negro from citizenship. Then followed the shameful catalogue of black laws; expatriation and ostracism in every form, which have so deeply disgraced the record of legislation in many of the States.”

James A. Garfield (1831–1881) American politician, 20th President of the United States (in office in 1881)

1860s, Oration at Ravenna, Ohio (1865)

Peter Greenaway photo
Ben Croshaw photo
William Bateson photo
Oswald Mosley photo
Anatole France photo

“I do not know any reading more easy, more fascinating, more delightful than a catalogue.”

La Bûche [The Log] (December 24, 1849)
The Crime of Sylvestre Bonnard (1881)

Tedros Adhanom photo

“Tobacco not only wrecks health and health systems; it’s a drain on economies and the environment. […] We must strengthen our efforts and scale up our actions while facing increasing interference from the tobacco industry. We are all familiar with the catalogue of deception, lies and half-truths in which tobacco industry specializes.”

Tedros Adhanom (1965) Director-General of the World Health Organization, former Minister in Ethiopia

Speech at the 17th World Conference on Tobacco or Health http://www.who.int/dg/speeches/2018/world-conference-on-tobacco-or-health/en/, 7 March 2018.

Robert H. Jackson photo
John D. Barrow photo
Ernest Hemingway photo

“No catalogue of horrors ever kept men from war. Before the war you always think that it's not you that dies. But you will die, brother, if you go to it long enough.”

Ernest Hemingway (1899–1961) American author and journalist

Notes on the Next War (1935)
Context: Hit in the head you will die quickly and cleanly even sweetly and fittingly except for the white blinding flash that never stops, unless perhaps it is only the frontal bone or your optic nerve that is smashed, or your jaw carried away, or your nose and cheek bones gone so you can still think but you have no face to talk with. But if you are not hit in the head you will be hit in the chest, and choke in it, or in the lower belly, and feel it all slip and slide loosely as you open, to spill out when you try to get up, it's not supposed to be so painful but they always scream with it, it's the idea I suppose, or have the flash, the slamming clang of high explosive on a hard road and find your legs are gone above the knee, or maybe just a foot gone and watch the white bone sticking through your puttee, or watch them take a boot off with your foot a mush inside it, or feel an arm flop and learn how a bone feels grating, or you will burn, choke and vomit, or be blown to hell a dozen ways, without sweetness or fittingness: but none of this means anything. No catalogue of horrors ever kept men from war. Before the war you always think that it's not you that dies. But you will die, brother, if you go to it long enough.

Octavio Paz photo

“The Great Monkey closes his eyes, scratches himself again and muses: before the sun has become completely hidden — it is now fleeing amid the tall bamboo trees like an animal pursued by shadows — I shall succeed in reducing this grove of trees to a catalogue.”

Octavio Paz (1914–1998) Mexican writer laureated with the 1990 Nobel Prize for Literature

Source: The Monkey Grammarian (1974), Ch. 8
Context: The Great Monkey closes his eyes, scratches himself again and muses: before the sun has become completely hidden — it is now fleeing amid the tall bamboo trees like an animal pursued by shadows — I shall succeed in reducing this grove of trees to a catalogue. A page of tangled plant calligraphy. A thicket of signs: how to read it, how to clear a path through this denseness? Hanumān smiles with pleasure at the analogy that has just occurred to him: calligraphy and vegetation, a grove of trees and writing, reading and a path. Following a path: reading a stretch of ground, deciphering a fragment of world. Reading considered as a path toward…. The path as a reading: an interpretation of the natural world? He closes his eyes once more and sees himself, in another age, writing (on a piece of paper or on a rock, with a pen or with a chisel?) the act in the Mahanātaka describing his visit to the grove of the palace of Rāvana. He compares its rhetoric to a page of indecipherable calligraphy and thinks: the difference between human writing and divine consists in the fact that the number of signs of the former is limited, whereas that of the latter is infinite; hence the universe is a meaningless text, one which even the gods find illegible. The critique of the universe (and that of the gods) is called grammar…. Disturbed by this strange thought, Hanumān leaps down from the wall, remains for a moment in a squatting position, then stands erect, scrutinizes the four points of the compass, and resolutely makes his way into the thicket.

Max Reger photo