Quotes about desert
page 4

Charles Dickens photo

“If the people at large be not already convinced that a sufficient general case has been made out for Administrative Reform, I think they never can be, and they never will be…. Ages ago a savage mode of keeping accounts on notched sticks was introduced into the Court of Exchequer, and the accounts were kept, much as Robinson Crusoe kept his calendar on the desert island. In the course of considerable revolutions of time, the celebrated Cocker was born, and died; Walkinghame, of the Tutor's Assistant, and well versed in figures, was also born, and died; a multitude of accountants, book-keepers and actuaries, were born, and died. Still official routine inclined to these notched sticks, as if they were pillars of the constitution, and still the Exchequer accounts continued to be kept on certain splints of elm wood called "tallies." In the reign of George III an inquiry was made by some revolutionary spirit, whether pens, ink, and paper, slates and pencils, being in existence, this obstinate adherence to an obsolete custom ought to be continued, and whether a change ought not to be effected.
All the red tape in the country grew redder at the bare mention of this bold and original conception, and it took till 1826 to get these sticks abolished. In 1834 it was found that there was a considerable accumulation of them; and the question then arose, what was to be done with such worn-out, worm-eaten, rotten old bits of wood? I dare say there was a vast amount of minuting, memoranduming, and despatch-boxing on this mighty subject. The sticks were housed at Westminster, and it would naturally occur to any intelligent person that nothing could be easier than to allow them to be carried away for fire-wood by the miserable people who live in that neighbourhood. However, they never had been useful, and official routine required that they never should be, and so the order went forth that they were to be privately and confidentially burnt. It came to pass that they were burnt in a stove in the House of Lords. The stove, overgorged with these preposterous sticks, set fire to the panelling; the panelling set fire to the House of Lords; the House of Lords set fire to the House of Commons; the two houses were reduced to ashes; architects were called in to build others; we are now in the second million of the cost thereof, the national pig is not nearly over the stile yet; and the little old woman, Britannia, hasn't got home to-night…. The great, broad, and true cause that our public progress is far behind our private progress, and that we are not more remarkable for our private wisdom and success in matters of business than we are for our public folly and failure, I take to be as clearly established as the sun, moon, and stars.”

Charles Dickens (1812–1870) English writer and social critic and a Journalist

"Administrative Reform" (June 27, 1855) Theatre Royal, Drury Lane Speeches Literary and Social by Charles Dickens https://books.google.com/books?id=bT5WAAAAcAAJ (1870) pp. 133-134

Pope Benedict XVI photo
Czeslaw Milosz photo
Henry Rollins photo

“Someone who would go across a desert that can kill you, to get to another country? You want to be an American *that* bad? 'Cause I've never had to lift my damn finger to be an American. I'm honored to share a country with you.”

Henry Rollins (1961) American singer-songwriter

Interview with Pharrel Williams for the Reserve Channel https://www.youtube.com/watch?v=vTekl1AFNm4&t=41s at youtube.com

Frances Kellor photo

“A first proposition, therefore, in Americanization is to find a way to satisfy the creative instinct in men and their sense of home, by giving them and their native-born sons the widest possible knowledge of America, including a pictorial geography, a simple history of the United States, the stories of successful Americans including those of foreign-born origin; a knowledge of American literature, of our political ideals and institutions, and of oiy: free educational opportunities. A systematic effort should be made to give them a land interest and a home stake and to get them close to the soil, not alone in the day's work but also in their cultural life. The men most likely to desert America at the close of the war will be workers with job stakes and wage rates, and not those with a home stake and investments. I would carry this campaign of information into every foreign language publication, every newspaper, every shop, and every racial center in America. The land interpreter of the future will be the government, and Franklin K. Lane, Secretary of the Interior, has foreseen this in his appeal for the use of the land for the rehabilitation of men returning from the front. It is the land that will make the life of the maimed livable and will connect the past with the future. This will not be achieved by forced "back-to-the-land movements" and colonization. Each individual American who interprets the beauty of America and its meaning, and who, wherever he can, personally puts the foreign-born in touch with the soil and helps him to a plot of ground which he can call his own, is doing effective Americanization. Loyalty and efficiency are inherent in this land sense, and they are the strength of a nation.”

Frances Kellor (1873–1952) American sociologist

What is Americanization? (1919)

Nathanael Greene photo
Merrill McPeak photo
Farah Pahlavi photo

“I shall never forget the tears in the eyes of the shah the day we left Iran. In that deserted runway and in the aircraft, my only thought was whether it was the last time or would [we ever] return.”

Farah Pahlavi (1938) Empress of Iran

Interview: Farah Pahlavi Recalls 30 Years In Exile http://www.rferl.org/content/Interview_Farah_Pahlavi_Recalls_30_Years_In_Exile/2111354.html, Radio Free Europe, (July 27, 2010).
Interviews

Eric Hobsbawm photo
Ralph Ellison photo

“If you can show me how I can cling to that which is real to me, while teaching me a way into the larger society, then I will not only drop my defenses and my hostility, but I will sing your praises and help you to make the desert bear fruit.”

Ralph Ellison (1914–1994) American novelist, literary critic, scholar and writer

"What These Children Are Like" (1963), in The Collected Essays, ed. John F. Callahan (New York: Modern Library, 1995), p. 555.

Joan Miró photo

“But so far as the Hindus are concerned, this period was a prolonged spell of darkness which ended only when the Marathas and the Jats and the Sikhs broke the back of Islamic imperialism in the middle of the 18th century. The situation of the Hindus under Muslim rule is summed up by the author of Tãrîkh-i-Wassãf in the following words: “The vein of the zeal of religion beat high for the subjection of infidelity and destruction of idols… The Mohammadan forces began to kill and slaughter, on the right and the left unmercifully, throughout the impure land, for the sake of Islãm, and blood flowed in torrents. They plundered gold and silver to an extent greater than can be conceived, and an immense number of precious stones as well as a great variety of cloths… They took captive a great number of handsome and elegant maidens and children of both sexes, more than pen can enumerate… In short, the Mohammadan army brought the country to utter ruin and destroyed the lives of the inhabitants and plundered the cities, and captured their off-springs, so that many temples were deserted and the idols were broken and trodden under foot, the largest of which was Somnãt. The fragments were conveyed to Dehlî and the entrance of the Jãmi‘ Masjid was paved with them so that people might remember and talk of this brilliant victory… Praise be to Allah the lord of the worlds.””

The Story of Islamic Imperialism in India (1994)

Antoni Tàpies photo
James Graham, 1st Marquess of Montrose photo

“He either fears his fate too much,
Or his deserts are small,
That dares not put it to the touch
To gain or lose it all.”

James Graham, 1st Marquess of Montrose (1612–1650) Scottish nobleman, poet and soldier of the Wars of the Three Kingdoms

My Dear and only Love. Compare: "That puts it not unto the touch/ To win or lose it all", Sir W. F. P. Napier, Montrose and the Covenanters, vol. ii. p. 566.

Maimónides photo
Jahangir photo

“On the 24th of the same month I went to see the fort of Kangra, and gave an order that the Qazi, the Chief Justice (Mir'Adl), and other learned men of Islam should accompany me and carry out in the fort whatever was customary, according to the religion of Muhammad. Briefly, having traversed about one koss, I went up to the top of the fort, and by the grace of God, the call to prayer and the reading of the Khutba and the slaughter of a bullock which had not taken place from the commencement of the building of the fort till now, were carried out in my presence. I prostrated myself in thanksgiving for this great gift, which no king had hoped to receive, and ordered a lofty mosque to be built inside the fort' ….'After going round the fort I went to see the temple of Durga, which is known as Bhawan. A world has here wandered in the desert of error. Setting aside the infidels whose custom is the worship of idols, crowds of the people of Islam, traversing long distances, bring their offerings and pray to the black stone (image)' Some maintain that this stone, which is now a place of worship for the vile infidels, is not the stone which was there originally, but that a body of the people of Islam came and carried off the original stone, and threw it into the bottom of the river, with the intent that no one could get at it. For a long time the tumult of the infidels and idol-worshippers had died away in the world, till a lying brahman hid a stone for his own ends, and going to the Raja of the time said: 'I saw Durga in a dream, and she said to me: They have thrown me into a certain place: quickly go and take me up.”

Jahangir (1569–1627) 4th Mughal Emperor

The Raja, in the simplicity of his heart, and greedy for the offerings of gold that would come to him, accepted the tale of the brahman and sent a number of people with him, and brought that stone, and kept it in this place with honour, and started again the shop of error and misleading
Kangra (Himachal Pradesh) , Tuzuk-i-Jahangiri, translated into English by Alexander Rogers, first published 1909-1914, New Delhi Reprint, 1978, Vol. II, pp. 223-25.

Kent Hovind photo
Mahmud of Ghazni photo
Charles Lyell photo
John Fante photo
Hannah Arendt photo

“Mass propaganda discovered that its audience was ready at all times to believe the worst, no matter how absurd, and did not particularly object to being deceived because it held every statement to be a lie anyhow. The totalitarian mass leaders based their propaganda on the correct psychological assumption that, under such conditions, one could make people believe the most fantastic statements one day, and trust if the next day they were given irrefutable proof of their falsehood, they would take refuge in cynicism; instead of deserting the leaders who had lied to them, they would protest that they had known all along the statement was a lie and would admire the leaders for their superior tactical cleverness.”

Part 3, Ch. 2 The Totalitarian Movement, page 80 https://books.google.de/books?id=I0pVKCVM4TQC&pg=PT104&dq=A+mixture+of+gullibility+and+cynicism+had+been+an+outstanding+characteristic+of+mob+mentality+before+it+became+an+everyday+phenomenon+of+masses.&hl=de&sa=X&redir_esc=y#v=onepage&q=A%20mixture%20of%20gullibility%20and%20cynicism%20had%20been%20an%20outstanding%20characteristic%20of%20mob%20mentality%20before%20it%20became%20an%20everyday%20phenomenon%20of%20masses.&f=false
The Origins of Totalitarianism (1951)
Context: A mixture of gullibility and cynicism had been an outstanding characteristic of mob mentality before it became an everyday phenomenon of masses. In an ever-changing, incomprehensible, world the masses had reached the point where they would, at the same time, believe everything and nothing, think that everything is possible and that nothing was true. The mixture in itself was remarkable enough, because it spelled the end of the illusion that gullibility was a weakness of unsuspecting primitive souls and cynism the vice of superior and refined minds. Mass propaganda discovered that its audience was ready at all times to believe the worst, no matter how absurd, and did not particularly object to being deceived because it held every statement to be a lie anyhow. The totalitarian mass leaders based their propaganda on the correct psychological assumption that, under such conditions, one could make people believe the most fantastic statements one day, and trust if the next day they were given irrefutable proof of their falsehood, they would take refuge in cynicism; instead of deserting the leaders who had lied to them, they would protest that they had known all along the statement was a lie and would admire the leaders for their superior tactical cleverness.

John Ramsay McCulloch photo
Henry Adams photo
Elie Wiesel photo
Abu Nuwas photo
Robert Sheckley photo
Gerry Rafferty photo

“To ravage, to slaughter, to usurp under false titles, they call empire; and where they make a desert, they call it peace.”
Auferre, trucidare, rapere, falsis nominibus imperium; atque, ubi solitudinem faciunt, pacem appellant.

Attributed by Tacitus in Agricola (c. 98)
Oxford Revised Translation (at Project Gutenberg) http://la.wikisource.org/wiki/De_vita_et_moribus_Iulii_Agricolae_%28Agricola%29#XXX
Translation: They plunder, they slaughter, and they steal: this they falsely name Empire, and where they make a wasteland, they call it peace. — translation Loeb Classical Library edition
Translation: To plunder, butcher, steal, these things they misname empire: they make a desolation and they call it peace. — translation by William Peterson

Sarah McLachlan photo
Plutarch photo
Anne Sexton photo
Richard Fuller (minister) photo
Luther Burbank photo

“I know all beyond High Park's a desert to you.”

Act V, sc. ii
Often misquoted as "Beyond Hyde Park all is a desert".
The Man of Mode (1676)

Horace Greeley photo

“VII. Let me call your attention to the recent tragedy in New Orleans, whereof the facts are obtained entirely through Pro-Slavery channels. A considerable body of resolute, able-bodied men, held in Slavery by two Rebel sugar-planters in defiance of the Confiscation Act which you have approved, left plantations thirty miles distant and made their way to the great mart of the South-West, which they knew to be the indisputed possession of the Union forces. They made their way safely and quietly through thirty miles of Rebel territory, expecting to find freedom under the protection of our flag. Whether they had or had not heard of the passage of the Confiscation Act, they reasoned logically that we could not kill them for deserting the service of their lifelong oppressors, who had through treason become our implacable enemies. They came to us for liberty and protection, for which they were willing render their best service: they met with hostility, captivity, and murder. The barking of the base curs of Slavery in this quarter deceives no one--not even themselves. They say, indeed, that the negroes had no right to appear in New Orleans armed (with their implements of daily labor in the cane-field); but no one doubts that they would gladly have laid these down if assured that they should be free. They were set upon and maimed, captured and killed, because they sought the benefit of that act of Congress which they may not specifically have heard of, but which was none the less the law of the land which they had a clear right to the benefit of--which it was somebody's duty to publish far and wide, in order that so many as possible should be impelled to desist from serving Rebels and the Rebellion and come over to the side of the Union, They sought their liberty in strict accordance with the law of the land--they were butchered or re-enslaved for so doing by the help of Union soldiers enlisted to fight against slaveholding Treason. It was somebody's fault that they were so murdered--if others shall hereafter stuffer in like manner, in default of explicit and public directions to your generals that they are to recognize and obey the Confiscation Act, the world will lay the blame on you. Whether you will choose to hear it through future History and 'at the bar of God, I will not judge. I can only hope.”

Horace Greeley (1811–1872) American politician and publisher

1860s, The Prayer of the Twenty Millions (1862)

George William Russell photo

“We are desert leagues apart;
Time is misty ages now
Since the warmth of heart to heart
Chased the shadows from my brow.”

George William Russell (1867–1935) Irish writer, editor, critic, poet, and artistic painter

The Nuts of Knowledge (1903)

Thaddeus Stevens photo
Benito Mussolini photo

“I am not a collector of deserts!”

Benito Mussolini (1883–1945) Duce and President of the Council of Ministers of Italy. Leader of the National Fascist Party and subsequen…

Remark to Pierre Laval (Jan. 5, 1935) on a proposed Ethiopian border, quoted in Duce!: A Biography of Benito Mussolini (1971) by Richard Collier, p. 125
1930s

William Cullen Bryant photo

“Wild was the day; the wintry sea
Moaned sadly on New England's strand,
When first the thoughtful and the free,
Our fathers, trod the desert land.”

William Cullen Bryant (1794–1878) American romantic poet and journalist

The Twenty-Second of December http://www.gutenberg.org/files/16341/16341-h/16341-h.htm#page154, st. 1

Robert Southey photo
Sergio Leone photo

“Even in the greatest Westerns, the woman is imposed on the action, as a star, and is generally destined to be “had” by the male lead. But she does not exist as a woman. If you cut her out of the film, in a version which you can imagine, the film becomes much better. In the desert, the essential problem was to survive. Women were an obstacle to survival! Usually, the woman not only holds up the story, but she has no real character, no reality. She is a symbol. She is there without having any reason to be there, simply because one must have a woman, and because the hero must prove, in some way or another, that he has "sex-appeal."”

Sergio Leone (1929–1989) Italian film director, screenwriter and producer

Christopher Frayling, Spaghetti Westerns: Cowboys and Europeans from Karl May to Sergio Leone (1981), p. 129. Quoted in The Worlding Project: Doing Cultural Studies in the Era of Globalization (2007), ed. R. Wilson, ‎C. L. Connery, Ch. 6: "'But I Did Not Shoot the Deputy': Dubbing the Yankee Frontier" by Louis Chude-Sokei, pp. 158–159, as well as in The A to Z of Westerns in Cinema (2009) by Paul Varner, p. 198, and in The Quick, the Dead and the Revived: The Many Lives of the Western Film (2016) by Joseph Maddrey, p. 104.

Paolo Bacigalupi photo

“We write dust epitaphs for our vanquished enemies and watch them blow away in the desert wind.”

Paolo Bacigalupi (1972) American science fiction and fantasy writer

"The Pasho", Asimov's Science Fiction, September 2004

Iain Banks photo
Wilfred Thesiger photo
Amy Lowell photo
Edward Young photo

“Life is the desert, life the solitude;
Death joins us to the great majority.”

Edward Young (1683–1765) English poet

The Revenge, Act IV, sc. i.

Eddie Vedder photo
Dylan Moran photo
Ibn Khaldun photo

“Arabic writing at the beginning of Islam was, therefore, not of the best quality nor of the greatest accuracy and excellence. It was not (even) of medium quality, because the Arabs possessed the savage desert attitude and were not familiar with crafts. One may compare what happened to the orthography of the Qur’an on account of this situation. The men around Muhammad wrote the Qur’an in their own script which, was not of a firmly established, good quality. Most of the letters were in contradiction to the orthography required by persons versed in the craft of writing…. Consequently, (the Qur’anic orthography of the men around Muhammad was followed and became established, and the scholars acquainted with it have called attention to passages where (this is noticeable). No attention should be paid in this connection with those incompetent (scholars) that (the men around Muhammad) knew well the art of writing and that the alleged discrepancies between their writing and the principles of orthography are not discrepancies, as has been alleged, but have a reason. For instance, they explain the addition of the alif in la ‘adhbahannahU "I shall indeed slaughter him" as indication that the slaughtering did not take place ( lA ‘adhbahannahU ). The addition of the ya in bi-ayydin "with hands (power)," they explain as an indication that the divine power is perfect. There are similar things based on nothing but purely arbitrary assumptions. The only reason that caused them to (assume such things) is their belief that (their explanations) would free the men around Muhammad from the suspicion of deficiency, in the sense that they were not able to write well. They think that good writing is perfection. Thus, they do not admit the fact that the men around Muhammad were deficient in writing.”

Muqqadimah, ibn Khaldun, vol. 2, p. 382
Muqaddimah (1377)

Don Marquis photo
Joseph Strutt photo

“A number of little birds, to the amount, I believe, of twelve or fourteen, being taken from different cages, were placed upon a table in the presence of the spectators; and there they formed themselves into ranks like a company of soldiers: small cones of paper bearing some resemblance to grenadiers caps were put upon their heads, and diminutive imitations of muskets made with wood, secured under their left wings. Thus equipped, they marched to and fro several times; when a single bird was brought forward, supposed to be a deserter, and set between six of the musketeers, three in a row, who conducted him from the top to the bottom of the table, on the middle of which a small brass cannon charged with a little gunpowder had been previously placed, and the deserter was situated in the front part of the cannon; his guards then divided, three retiring on one side, and three on the other, and he was left standing by himself. Another bird was immediately produced; and, a lighted match being put into one of his claws, he hopped boldly on the other to the tail of the cannon, and, applying the match to the priming, discharged the piece without the least appearance of fear or agitation. The moment the explosion took place, the deserter fell down, and lay, apparently motionless, like a dead bird; but, at the command of his tutor he rose again; and the cages being brought, the feathered soldiers were stripped of their ornaments, and returned into them in perfect order.”

Joseph Strutt (1749–1802) British engraver, artist, antiquary and writer

pg. 250
The Sports and Pastimes of the People of England (1801), Public entertainment

Walter Scott photo
Letitia Elizabeth Landon photo
Robert Frost photo
Ariel Sharon photo
Roy Chapman Andrews photo

“I wanted to go everywhere. I would have started on a day’s notice for the North Pole or the South, to the jungle or the desert. It made not the slightest difference to me.”

Roy Chapman Andrews (1884–1960) American explorer, adventurer and naturalist

From 'Under a Lucky Star' published 1943 http://www.roychapmanandrewssociety.org/adventures.html

Bruce Springsteen photo
Francesco Dall'Ongaro photo

“Poor is he who in traitor doth confide :
Never shall snow-clad land good grain provide.
Poor she who in deserter faith doth show :
Never shall flowers on withered branches grow.”

Francesco Dall'Ongaro (1808–1873) Italian poet, playwright and librettist

Povero chi si fida ad un marrano:
Terra nevosa non mena più grano.
Povera chi si fida a un disertore :
Di ramo seco non germoglia fiore.
Stornelli Politici, "Il Disertore".
Translation reported in Harbottle's Dictionary of quotations French and Italian (1904), p. 395.

Thomas Kuhn photo

“I rapidly discovered that Aristotle had known almost no mechanics at all. … How could his characteristic talents have deserted him so systematically when he turned to the study of motion and mechanics? Equally, if his talents had so deserted him, why had his writings in physics been taken so seriously for so many centuries after his death? … I was sitting at my desk with the text of Aristotle's Physics open in front of me… Suddenly the fragments in my head sorted themselves out in a new way, and fell into place together. My jaw dropped, for all at once Aristotle seemed a very good physicist indeed, but of a sort I'd never dreamed possible. Now I could understand why he had said what he'd said, and what his authority had been. Statements that had previously seemed egregious mistakes, now seemed at worst near misses within a powerful and generally successful tradition. That sort of experience -- the pieces suddenly sorting themselves out and coming together in a new way -- is the first general characteristic of revolutionary change that I shall be singling out after further consideration of examples. Though scientific revolutions leave much piecemeal mopping up to do, the central change cannot be experienced piecemenal, one step at a time. Instead, it involves some relatively sudden and unstructured transformation in which some part of the flux of experience sorts itself out differently and displays patterns that were not visible before.”

Thomas Kuhn (1922–1996) American historian, physicist and philosopher

Source: The Road Since Structure (2002), p. 16-17; from "What Are Scientific Revolutions?" (1982)

Neil Gaiman photo
George Lippard photo
Dejan Stojanovic photo

“Is it possible to write a poem or are these words just screams of outlaws exiled to the desert?”

Dejan Stojanovic (1959) poet, writer, and businessman

“Is It Possible to Write a Poem?”
The Sun Watches the Sun (1999), Sequence: “Is It Possible to Write a Poem”

Taylor Caldwell photo
George Gordon Byron photo
Flavius Josephus photo

“I protest openly that I do not go over to the Romans as a deserter of the Jews, but as a minister from thee.”

Flavius Josephus (37–100) first-century Romano-Jewish scholar, historian and hagiographer

Book 3.8.3, trans. William Whiston
regarding his defection to the Roman Empire
The Jewish War (c. 75 CE)

Wilfred Thesiger photo
Iain Banks photo
Michael Moore photo
Mike Oldfield photo

“She takes the rain, turns it to sun,
And my soul she fills it.
Where once was a desert
Rivers now run, and my storms she stills it…”

Mike Oldfield (1953) English musician, multi-instrumentalist

Song lyrics, Earth Moving (1989)

Michael Ende photo

“You were compelled to?' he repeated. 'You mean you weren't sufficiently powerful to resist?'
'In order to seize power,' replied the dictator, 'I had to take it from those that had it, and in order to keep it I had to employ it against those that sought to deprive me of it.'
The chef's hat gave a nod. 'An old, old story. It has been repeated a thousand times, but no one believes it. That's why it will be repeated a thousand times more.'
The dictator felt suddenly exhausted. He would gladly have sat down to rest, but the old man and the children walked on and he followed them.
'What about you?' he blurted out, when he had caught the old man up. 'What do you know of power? Do you seriously believe that anything great can be achieved on earth without it?'
'I?' said the old man. 'I cannot tell great from small.'
'I wanted power so that I could give the world justice,' bellowed the dictator, and blood began to trickle afresh from the wound in his forehead, 'but to get it I had to commit injustice, like anyone who seeks power. I wanted to end oppression, but to do so I had to imprison and execute those who opposed me - I became an oppressor despite myself. To abolish violence we must use it, to eliminate human misery we must inflict it, to render war impossible we must wage it, to save the world we must destroy it. Such is the true nature of power.'
Chest heaving, he had once more barred the old man's path with his pistol ready.'
'Yet you love it still,' the old man said softly.
'Power is the supreme virture!' The dictator's voice quavered and broke. 'But its sole shortcoming is sufficient to spoil the whole: it can never be absolute - that's what makes it so insatiable. The only true form of power is omnipotence, which can never be attained, hence my disenchantment with it. Power has cheated me.'
'And so,' said the old man, 'you have become the very person you set out to fight. It happens again and again. That is why you cannot die.'
The dictator slowly lowered his gun. 'Yes,' he said, 'you're right. What's to be done?'
'Do you know the legend of the Happy Monarch?' asked the old man.

'When the Happy Monarch came to build the huge, mysterious palace whose planning alone had occupied ten whole years of his life, and to which marvelling crowds made pilgrimage long before its completion, he did something strange. No one will ever know for sure what made him do it, whether wisdom or self-hatred, but the night after the foundation stone had been laid, when the site was dark and deserted, he went there in secret and buried a termites' nest in a pit beneath the foundation stone itself. Many decades later - almost a life time had elapsed, and the many vicissitudes of his turbulent reign had long since banished all thought of the termites from his mind - when the unique building was finished at last and he, its architect and author, first set foot on the battlements of the topmost tower, the termites, too, completed their unseen work. We have no record of any last words that might shed light on his motives, because he and all his courtiers were buried in the dust and rubble of the fallen palace, but long-enduring legend has it that, when his almost unmarked body was finally unearthed, his face wore a happy smile.”

Michael Ende (1929–1995) German author

"Mirror in the Mirror", page 193

E.M. Forster photo
Samuel Taylor Coleridge photo
George Washington Plunkitt photo
Lois McMaster Bujold photo
Lord Dunsany photo
Nathanael Greene photo
Saint Patrick photo
Bruce Springsteen photo
Patrick Modiano photo
Houston Stewart Chamberlain photo
George Gordon Byron photo

“In the desert a fountain is springing,
In the wide waste there still is a tree,
And a bird in the solitude singing,
Which speaks to my spirit of thee.”

George Gordon Byron (1788–1824) English poet and a leading figure in the Romantic movement

Stanzas to Augusta (1816), reported in Bartlett's Familiar Quotations, 10th ed. (1919).

Charles Péguy photo
Bono photo

“I'll show you a place, high on the desert plain. Where the streets have no name”

Bono (1960) Irish rock musician, singer of U2

"Where the streets have no name"
Lyrics, The Joshua Tree (1987)

“Some one wrote to me upon the publication of my book two years ago: “But you live in England! Poor man: then you are a preacher in the desert!” So I am. But I owe something to my desert. The desert is an excellent place for anybody who can make use of it, as biblical and post-biblical experience proves. Without my desert I should not have written my book. Without coming to England I should have become a modern creature, going in for money and motor-cars. For I was born with a fatal inclination for such lighter and brighter kind of things. I was born under a lucky star, so to say: I was born with a warm heart and a happy disposition; I was born to play a good figure in one of those delightful fêtes champêtres of Watteau, Lancret, and Boucher, with a nice little shepherdess on my arm, listening to the sweet music of Rossini and drinking the inspiring “Capri bianco” or “Verona soave” of that beautiful country Italy. But the sky over here is not blue—nor grows there any wine in England—and no Rossini ever lived here; and towards the native shepherdesses I adopted the ways of the Christian towards his beautiful ideals: I admired them intensely but kept myself afar. So there was nothing to console your thirsty and disenchanted traveller in the British Sahara. In the depths of his despair, there was sent to him, as to the traveller in the desert, an enchanting vision, a beautiful fata Morgana rising on the horizon of the future, a fertile and promising Canaan of a new creed that had arisen in Germany (there too as a revulsion against the desert): the philosophy of Friedrich Nietzsche.
So I owe something to the desert. Had I not wandered there so long, I could never have fervently wished to escape nor finally succeeded in coming out of it.”

Oscar Levy (1867–1946) German physician and writer

Preface, pp. xii-xiii.
The Revival of Aristocracy (1906)

“Half the campus was designed by Bottom the Weaver, half by Ludwig Mies van der Rohe; Benton had been endowed with one to begin with, and had smiled and sweated and and spoken for the other. A visitor looked under black beams, through leaded casements (past apple boughs, past box, past chairs like bath-tubs on broomsticks) to a lawn ornamented with one of the statues of David Smith; in the months since the figure had been put in its place a shrike had deserted for it a neighboring thorn tree, and an archer had skinned her leg against its farthest spike. On the table in the President’s waiting-room there were copies of Town and Country, the Journal of the History of Ideas, and a small magazine—a little magazine—that had no name. One walked by a mahogany hat-rack, glanced at the coat of arms on an umbrella-stand, and brushed with one’s sleeve something that gave a ghostly tinkle—four or five black and orange ellipsoids, set on grey wires, trembled in the faint breeze of the air-conditioning unit: a mobile. A cloud passed over the sun, and there came trailing from the gymnasium, in maillots and blue jeans, a melancholy procession, four dancers helping to the infirmary a friend who had dislocated her shoulder in the final variation of The Eye of Anguish.”

Source: Pictures from an Institution (1954) [novel], Chapter 1: “The President, Mrs., and Derek Robbins”, p. 3; opening paragraph of novel

Richard Rodríguez photo