Quotes about essay
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Roy A. Childs, Jr. photo
Richard Salter Storrs photo
Andrew Dickson White photo
Gary S. Becker photo
Thomas More photo
John Dryden photo

“Of seeming arms to make a short essay,
Then hasten to be drunk — the business of the day.”

Source: Fables, Ancient and Modern (1700), Cymon and Iphigenia, Lines 407–408.

Max Ernst photo

“Woman's nakedness is wiser than the teachings of the philosophers. [the title of his essay]”

Max Ernst (1891–1976) German painter, sculptor and graphic artist

Quote in Max Ernst, Gonthier-Seghers, Paris, 1959; as cited in Max Ernst sculpture, Museo d'arte contemporanea. Edizioni Charta, Milano, 1996, p. 37
1951 - 1976

Edward Payson photo
Alain de Botton photo
William Styron photo
Anthony Burgess photo
John Birtwhistle photo

“The essay was impelled by Clare's anxiety that his poems were slipping out if fashion.”

John Birtwhistle (1946) English poet

Clare's 'Popularity in Authorship (1824)

Qian Xuesen photo
Robert Graves photo
Ernest Bramah photo
Edward A. Shanken photo
Erving Goffman photo
Matthew Arnold photo
David Attenborough photo
Thomas Jefferson photo
Will Eisner photo

“In 1848, driven by a revolution in Paris, King Louis Philippe abdicated and Louis Napoleon (a nephew of Napoleon Bonaparte) was elected president of France. Four years later, after a coup d’etat, Louis Napoleon styled himself Napoleon II, emperor of France.
napoleon III’s first act as emperor was to imprison his political opponents. He was a crafty monarch, and his ambition during his reign was to seek glory through military adventurism while the great mass of French peasants remained ina state of poverty and despair.
Initially, Napoleon III achieved a short-lived public popularity by trying to “modernize” France and liberalize its economy, but his legacy remains that of a dictator and conniving politician.
In 1870, fearful that Germany was expanding too fast, Napoleon III declared war against this neighbor. The French were quickly defeated, and Napoleon III became a prisoner of war. Upon release in 1871, he was exiled to England, where he lived until his death in 1873.
Maurice Joly was mindful of this growing tension between Germany and France. He had been born in 1821 of French parents. He was admitted to the Paris bar as an attorney and was a one-time member of the General Assembly. Joly devoted most of time to writing caustic essays on French politics. He joined many other severe critics of Napoleon III, who regarded him as a ruthless despot.
In 1864, Joly wrote a book called “The Dialogue in Hell between Machiavelli and Montesquieu.”…It intended to liken Napoleon III to the infamous Machiavelli, author of “The Prince,” a treatise on the acquisition of power. Holy intended to reveal the French dictator’s dark and evil plans.”

Will Eisner (1917–2005) American cartoonist

Will Eisner, pp. 7-8
The Plot: The Secret Story of the Protocols of the Elders of Zion (10/2/2005)

Margaret Fuller photo

“Essays, entitled critical, are epistles addressed to the public, through which the mind of the recluse relieves itself of its impressions.”

Margaret Fuller (1810–1850) American feminist, poet, author, and activist

"A Short Essay on Critics" in Art, Literature and the Drama (1858).

Frederick Douglass photo
Adam Schaff photo
Rajiv Malhotra photo
Paul Krugman photo
William Styron photo
Paul Krugman photo
Amir Taheri photo
Thomas Henry Huxley photo
Boris Johnson photo

“Life isn’t like coursework, baby. It’s one damn essay crisis after another.”

Boris Johnson (1964) British politician, historian and journalist

"Exams work because they're scary", Daily Telegraph, 12 May 2005, p. 22.
2000s, 2005

Amit Chaudhuri photo
Miguel de Unamuno photo

“Windelband, the historian of philosophy, in his essay on the meaning of philosophy (Was ist Philosophie? in the first volume of his Präludien) tells us that "the history of the word 'philosophy' is the history of the cultural significance of science." He continues: "When scientific thought attains an independent existence as a desire for knowledge, it takes the name of philosophy; when subsequently knowledge as a whole divides into its various branches, philosophy is the general knowledge of the world that embraces all other knowledge. As soon as scientific thought stoops again to becoming a means to ethics or religious contemplation, philosophy is transformed into an art of life or into a formulation of religious beliefs. And when afterwards the scientific life regains its liberty, philosophy acquires once again its character as an independent knowledge of the world, and in so far as it abandons the attempt to solve this problem, it is changed into a theory of knowledge itself." Here you have a brief recapitulation of the history of philosophy from Thales to Kant, including the medieval scholasticism upon which it endeavored to establish religious beliefs. But has philosophy no other office to perform, and may not its office be to reflect upon the tragic sense of life itself, such as we have been studying it, to formulate this conflict between reason and faith, between science and religion, and deliberately to perpetuate this conflict?”

Miguel de Unamuno (1864–1936) 19th-20th century Spanish writer and philosopher

The Tragic Sense of Life (1913), Conclusion : Don Quixote in the Contemporary European Tragi-Comedy

James Nasmyth photo

“My first essay at making a steam engine was when I was fifteen. I then made a real working; steam-engine, 1 3/4 diameter cylinder, and 8 in. stroke, which not only could act, but really did some useful work; for I made it grind the oil colours which my father required for his painting. Steam engine models, now so common, were exceedingly scarce in those days, and very difficult to be had; and as the demand for them arose, I found it both delightful and profitable to make them; as well as sectional models of steam engines, which I introduced for the purpose of exhibiting the movements of all the parts, both exterior and interior. With the results of the sale of such models I was enabled to pay the price of tickets of admission to the lectures on natural philosophy and chemistry delivered in the University of Edinburgh. About the same time (1826) I was so happy as to be employed by Professor Leslie in making models and portions of apparatus required by him for his lectures and philosophical investigations, and I had also the inestimable good fortune to secure his friendship. His admirably clear manner of communicating a knowledge of the fundamental principles of mechanical science rendered my intercourse with him of the utmost importance to myself. A hearty, cheerful, earnest desire to toil in his service, caused him to take pleasure in instructing me by occasional explanations of what might otherwise have remained obscure.”

James Nasmyth (1808–1890) Scottish mechanical engineer and inventor

James Nasmyth in: Industrial Biography: Iron-workers and Tool-makers https://books.google.nl/books?id=ZMJLAAAAMAAJ, Ticknor and Fields, 1864. p. 337

Logan Pearsall Smith photo
Leszek Kolakowski photo
Dara Shukoh photo
Pierre-Simon Laplace photo

“"One sees, from this Essay, that the theory of probabilities is basically just common sense reduced to calculus; it makes one appreciate with exactness that which accurate minds feel with a sort of instinct, often without being able to account for it."”

Pierre-Simon Laplace (1749–1827) French mathematician and astronomer

"On voit, par cet Essai, que la théorie des probabilités n'est, au fond, que le bon sens réduit au calcul; elle fait apprécier avec exactitude ce que les esprits justes sentent par une sorte d'instinct, sans qu'ils puissent souvent s'en rendre compte."
From the Introduction to Théorie Analytique des Probabilités http://visualiseur.bnf.fr/Visualiseur?Destination=Gallica&O=NUMM-88764, second and later editions; also published separately as Essai philosophique sur les Probabilités (1814). Œuvres complètes de Laplace, tome VII, p. cliii, Paris: Gauthier-Villars, 1878-1912.
Also reported as: "The theory of probabilities is at bottom nothing but common sense reduced to calculus; it enables us to appreciate with exactness that which accurate minds feel with a sort of instinct for which ofttimes they are unable to account."
Or as: "Probability theory is nothing but common sense reduced to calculation."

Clarence Thomas photo
Charles Lyell photo

“Of Dr. Hooker, whom I have often cited in this chapter, Mr. Darwin has spoken in the Introduction to his 'Origin of Species, as one 'who had, for fifteen years, aided him in every possible way, by his large stores of knowledge, and his excellent judgement.' This distinguished botanist published his 'Introductory Essay to the Flora of Australia' in 1859, the year after the memoir on 'Natural Selection' was communicated to the Linnaean Society, and a few months before the appearance of the' Origin of Species.'… no one was better qualified by observation and reflection to give an authoritative opinion on the question, whether the present vegetation of the globe is or is not in accordance with the theory which Mr. Darwin has proposed. We cannot but feel, therefore, deeply interested when we find him making the following declaration: 'The mutual relations of the plants of each great botanical province, and, in fact, of the world generally, is just such as would have resulted if variation had gone on operating throughout indefinite periods, in the same manner as we see it act in a limited number of centuries, so as gradually to give rise in the course of time, to the most widely divergent forms…. The element of mutability pervades the whole Vegetable Kingdom; no class, nor order, nor genus of more than a few species claims absolute exemption from it, whilst the grand total of unstable forms, generally assumed to be species, probably exceeds that of the stable.”

Charles Lyell (1797–1875) British lawyer and geologist

Source: The Geological Evidences of the Antiquity of Man (1863), Ch.21, p. 417-418

John Stuart Mill photo
Kate Mulgrew photo
Abraham Cowley photo
George Holmes Howison photo
George Gordon Byron photo

“Mendelssohn is the inventor of religious kitsch in music. His first essay in this genre is a masterpiece, the Fugue in E Minor, published in 1837 but written ten years earlier, when the composer was eighteen …”

Charles Rosen (1927–2012) American pianist and writer on music

Source: The Romantic Generation (1995), Ch. 10 : Mendelssohn and the Invention of Religious Kitsch

Mary Astell photo
George Carlin photo
William Styron photo

“Camus’s essay “Reflections on the Guillotine” is a virtually unique document, freighted with terrible and fiery logic; it is difficult to conceive of the most vengeful supporter of the death penalty retaining the same attitude after exposure to scathing truths expressed with such ardor and precision.”

Source: Darkness Visible (1990), II
Context: When I was a young writer there had been a stage where Camus, almost more than any other contemporary literary figure, radically set the tone for my own view of life and history. I read his novel The Stranger somewhat later than I should have — I was in my early thirties — but after finishing it I received the stab of recognition that proceeds from reading the work of a writer who has wedded moral passion to a style of great beauty and whose unblinking vision is capable of frightening the soul to its marrow. The cosmic loneliness of Meursault, the hero of that novel, so haunted me that when I set out to write The Confessions of Nat Turner I was impelled to use Camus’s device of having the story flow from the point of view of a narrator isolated in his jail cell during the hours before his execution. For me there was a spiritual connection between Meursault’s frigid solitude and the plight of Nat Turner — his rebel predecessor in history by a hundred years — likewise condemned and abandoned by man and God. Camus’s essay “Reflections on the Guillotine” is a virtually unique document, freighted with terrible and fiery logic; it is difficult to conceive of the most vengeful supporter of the death penalty retaining the same attitude after exposure to scathing truths expressed with such ardor and precision. I know my thinking was forever altered by that work, not only turning me around completely, convincing me of the essential barbarism of capital punishment, but establishing substantial claims on my conscience in regard to matters of responsibility at large. Camus was a great cleanser of my intellect, ridding me of countless sluggish ideas, and through some of the most unsettling pessimism I had ever encountered causing me to be aroused anew by life’s enigmatic promise.

Yasunari Kawabata photo

“In my essay, "Eyes in their Last Extremity", I had to say: "How ever alienated one may be from the world, suicide is not a form of enlightenment. However admirable he may be, the man who commits suicide is far from the realm of the saint."”

Yasunari Kawabata (1899–1972) Japanese author, Nobel Prize winner

Japan, the Beautiful and Myself (1969)
Context: I have an essay with the title "Eyes in their Last Extremity".
The title comes from the suicide note of the short-story writer Akutagawa Ryunosuke... It is the phrase that pulls at me with the greatest strength. Akutagawa said that he seemed to be gradually losing the animal something known as the strength to live, and continued:
"I am living in a world of morbid nerves, clear and cold as ice... I do not know when I will summon up the resolve to kill myself. But nature is for me more beautiful than it has ever been before. I have no doubt that you will laugh at the contradiction, for here I love nature even when I am contemplating suicide. But nature is beautiful because it comes to my eyes in their last extremity."
Akutagawa committed suicide in 1927, at the age of thirty-five.
In my essay, "Eyes in their Last Extremity", I had to say: "How ever alienated one may be from the world, suicide is not a form of enlightenment. However admirable he may be, the man who commits suicide is far from the realm of the saint." I neither admire nor am in sympathy with suicide.

Leo Tolstoy photo

“When I started life Hegelianism was the basis of everything: it was in the air, found expression in magazine and newspaper articles, in novels and essays, in art, in histories, in sermons, and in conversation. A man unacquainted with Hegel had no right to speak: he who wished to know the truth studied Hegel.”

Leo Tolstoy (1828–1910) Russian writer

Source: What then must we do? (1886), Chapter XXIX
Context: When I started life Hegelianism was the basis of everything: it was in the air, found expression in magazine and newspaper articles, in novels and essays, in art, in histories, in sermons, and in conversation. A man unacquainted with Hegel had no right to speak: he who wished to know the truth studied Hegel. Everything rested on him; and suddenly forty years have gone by and there is nothing left of him, he is not even mentioned — as though he had never existed. And what is most remarkable is that, like pseudo-Christianity, Hegelianism fell not because anyone refuted it, but because it suddenly became evident that neither the one nor the other was needed by our learned, educated world.

“In the first solution of Isoperimetrical problems, the Bernoullis use diagrams and their properties. Euler, in his early essays, does the same; then, as he improves the calculus he gets rid of constructions. In his Treatise”

Robert Woodhouse (1773–1827) English mathematician

A Treatise on Isoperimetrical Problems, and the Calculus of Variations (1810)
Context: There is another point... and that is the method of demonstration by geometrical figures. In the first solution of Isoperimetrical problems, the Bernoullis use diagrams and their properties. Euler, in his early essays, does the same; then, as he improves the calculus he gets rid of constructions. In his Treatise [footnote: Methodus inveniendi, &c. ], he introduces geometrical figures, but almost entirely, for the purpose of illustration: and finally, in the tenth volume of the Novi Comm. Petrop. as Lagrange had done in the Miscellanea Taurinensea, he expounds the calculus, in its most refined state, entirely without the aid of diagrams and their properties. A similar history will belong to every other method of calculation, that has been advanced to any degree of perfection. <!--Preface p. vii-viii

John Maynard Keynes photo

“I have sought with some touches of detail to bring out the solidarity and historical continuity of the High Intelligentsia of England, who have built up the foundations of our thought in the two and a half centuries, since Locke, in his Essay Concerning Human Understanding, wrote the first modern English book.”

John Maynard Keynes (1883–1946) British economist

Source: Essays In Biography (1933), Preface, p. viii
Context: I have sought with some touches of detail to bring out the solidarity and historical continuity of the High Intelligentsia of England, who have built up the foundations of our thought in the two and a half centuries, since Locke, in his Essay Concerning Human Understanding, wrote the first modern English book. I relate below the amazing progeny of Sir George Villiers. But the lineage of the High Intelligentsia is hardly less interbred and spiritually inter-mixed. Let the Villiers Connection fascinate the monarch or the mob and rule, or seem to rule, passing events. There is also a pride of sentiment to claim spiritual kinship with the Locke Connection and that long English line, intellectually and humanly linked with one another, to which the names in my second section belong. If not the wisest, yet the most truthful of men. If not the most personable, yet the queerest and sweetest. If not the most practical, yet of the purest public conscience. If not of high artistic genius, yet the most solid and sincere accomplishment within many of the fields which are ranged by the human mind.

“The most dismaying call of this kind came one night at nine o'clock from a youth of sixteen who said: "I've got to have this essay ready to hand in tomorrow morning, and I'm stuck. Can you give me some help with these-here Jungian archeotypes?"”

Robertson Davies (1913–1995) Canadian journalist, playwright, professor, critic, and novelist

Jung and the Writer (1989).
Context: The most dismaying call of this kind came one night at nine o'clock from a youth of sixteen who said: "I've got to have this essay ready to hand in tomorrow morning, and I'm stuck. Can you give me some help with these-here Jungian archeotypes?" It was impossible to explain to him that no telephone conversation could help him; indeed, in his agony, I do not know what would have helped him except sudden and merciful death.

Herbert Spencer photo

“The ideal form for a poem, essay, or fiction, is that which the ideal writer would evolve spontaneously.”

Herbert Spencer (1820–1903) English philosopher, biologist, sociologist, and prominent classical liberal political theorist

Pt. II, sec. 4, "The Ideal Writer"
The Philosophy of Style (1852)
Context: The ideal form for a poem, essay, or fiction, is that which the ideal writer would evolve spontaneously. One in whom the powers of expression fully responded to the state of feeling, would unconsciously use that variety in the mode of presenting his thoughts, which Art demands.

Charles Sanders Peirce photo

“My original essay, having been written for a popular monthly, assumes, for no better reason than that real inquiry cannot begin until a state of real doubt arises and ends as soon as Belief is attained, that "a settlement of Belief," or, in other words, a state of satisfaction, is all that Truth, or the aim of inquiry, consists in.”

Charles Sanders Peirce (1839–1914) American philosopher, logician, mathematician, and scientist

Source: A Neglected Argument for the Reality of God (1908), V
Context: My original essay, having been written for a popular monthly, assumes, for no better reason than that real inquiry cannot begin until a state of real doubt arises and ends as soon as Belief is attained, that "a settlement of Belief," or, in other words, a state of satisfaction, is all that Truth, or the aim of inquiry, consists in. The reason I gave for this was so flimsy, while the inference was so nearly the gist of Pragmaticism, that I must confess the argument of that essay might with some justice be said to beg the question. The first part of the essay, however, is occupied with showing that, if Truth consists in satisfaction, it cannot be any actual satisfaction, but must be the satisfaction which would ultimately be found if the inquiry were pushed to its ultimate and indefeasible issue. This, I beg to point out, is a very different position from that of Mr Schiller and the pragmatists of to-day. I trust I shall be believed when I say that it is only a desire to avoid being misunderstood in consequence of my relations with pragmatism, and by no means as arrogating any superior immunity from error which I have too good reason to know that I do not enjoy, that leads me to express my personal sentiments about their tenets. Their avowedly undefinable position, if it be not capable of logical characterisation, seems to me to be characterised by an angry hatred of strict logic, and even some disposition to rate any exact thought which interferes with their doctrines as all humbug. At the same time, it seems to me clear that their approximate acceptance of the Pragmaticist principle, and even that very casting aside of difficult distinctions (although I cannot approve of it), has helped them to a mightily clear discernment of some fundamental truths that other philosophers have seen but through a mist, and most of them not at all. Among such truths — all of them old, of course, yet acknowledged by few — I reckon their denial of necessitarianism; their rejection of any "consciousness" different from a visceral or other external sensation; their acknowledgment that there are, in a Pragmatistical sense, Real habits (which Really would produce effects, under circumstances that may not happen to get actualised, and are thus Real generals); and their insistence upon interpreting all hypostatic abstractions in terms of what they would or might (not actually will) come to in the concrete. It seems to me a pity they should allow a philosophy so instinct with life to become infected with seeds of death in such notions as that of the unreality of all ideas of infinity and that of the mutability of truth, and in such confusions of thought as that of active willing (willing to control thought, to doubt, and to weigh reasons) with willing not to exert the will (willing to believe).

H.L. Mencken photo

“But under democracy the remotest and most fantastic possibility is a common place of every day. All the axioms resolve themselves into thundering paradoxes, many amounting to downright contradictions in terms. The mob is competent to rule the rest of us—but it must be rigorously policed itself. There is a government, not of men, but of laws—but men are set upon benches to decide finally what the law is and may be. The highest function of the citizen is to serve the state—but the first assumption that meets him, when he essays to discharge it, is an assumption of his disingenuousness and dishonour.”

H.L. Mencken (1880–1956) American journalist and writer

1920s, Notes on Democracy (1926)
Context: Democracy always seems bent upon killing the thing it theoretically loves. I have rehearsed some of its operations against liberty, the very cornerstone of its political metaphysic. It not only wars upon the thing itself; it even wars upon mere academic advocacy of it. I offer the spectacle of Americans jailed for reading the Bill of Rights as perhaps the most gaudily humorous ever witnessed in the modern world. Try to imagine monarchy jailing subjects for maintaining the divine right of Kings! Or Christianity damning a believer for arguing that Jesus Christ was the Son of God! This last, perhaps, has been done: anything is possible in that direction. But under democracy the remotest and most fantastic possibility is a common place of every day. All the axioms resolve themselves into thundering paradoxes, many amounting to downright contradictions in terms. The mob is competent to rule the rest of us—but it must be rigorously policed itself. There is a government, not of men, but of laws—but men are set upon benches to decide finally what the law is and may be. The highest function of the citizen is to serve the state—but the first assumption that meets him, when he essays to discharge it, is an assumption of his disingenuousness and dishonour. Is that assumption commonly sound? Then the farce only grows the more glorious.
I confess, for my part, that it greatly delights me. I enjoy democracy immensely. It is incomparably idiotic, and hence incomparably amusing. Does it exalt dunderheads, cowards, trimmers, frauds, cads? Then the pain of seeing them go up is balanced and obliterated by the joy of seeing them come down. Is it inordinately wasteful, extravagant, dishonest? Then so is every other form of government: all alike are enemies to laborious and virtuous men. Is rascality at the very heart of it? Well, we have borne that rascality since 1776, and continue to survive. In the long run, it may turn out that rascality is necessary to human government, and even to civilization itself—that civilization, at bottom, is nothing but a colossal swindle. I do not know: I report only that when the suckers are running well the spectacle is infinitely exhilarating. But I am, it may be, a somewhat malicious man: my sympathies, when it comes to suckers, tend to be coy. What I can't make out is how any man can believe in democracy who feels for and with them, and is pained when they are debauched and made a show of. How can any man be a democrat who is sincerely a democrat?

Eugéne Ionesco photo

“I abandoned criticism because I am full of contradictions, and when you write an essay you are not supposed to contradict yourself. But in the theater, by inventing various characters, you can. My characters are contradictory not only in their language, but in their behavior as well.”

Eugéne Ionesco (1909–1994) Romanian playwright

The Paris Review interview (1984)
Context: The theater chose me. As I said, I started with poetry, and I also wrote criticism and dialogue. But I realized that I was most successful at dialogue. Perhaps I abandoned criticism because I am full of contradictions, and when you write an essay you are not supposed to contradict yourself. But in the theater, by inventing various characters, you can. My characters are contradictory not only in their language, but in their behavior as well.

Yasunari Kawabata photo

“I have an essay with the title "Eyes in their Last Extremity".
The title comes from the suicide note of the short-story writer Akutagawa Ryunosuke… It is the phrase that pulls at me with the greatest strength.”

Yasunari Kawabata (1899–1972) Japanese author, Nobel Prize winner

Japan, the Beautiful and Myself (1969)
Context: I have an essay with the title "Eyes in their Last Extremity".
The title comes from the suicide note of the short-story writer Akutagawa Ryunosuke... It is the phrase that pulls at me with the greatest strength. Akutagawa said that he seemed to be gradually losing the animal something known as the strength to live, and continued:
"I am living in a world of morbid nerves, clear and cold as ice... I do not know when I will summon up the resolve to kill myself. But nature is for me more beautiful than it has ever been before. I have no doubt that you will laugh at the contradiction, for here I love nature even when I am contemplating suicide. But nature is beautiful because it comes to my eyes in their last extremity."
Akutagawa committed suicide in 1927, at the age of thirty-five.
In my essay, "Eyes in their Last Extremity", I had to say: "How ever alienated one may be from the world, suicide is not a form of enlightenment. However admirable he may be, the man who commits suicide is far from the realm of the saint." I neither admire nor am in sympathy with suicide.

“Doctrines, scriptures, sutras, essays, are not to be regarded as systems to be followed. They merely contribute to understanding.”

Wei Wu Wei (1895–1986) writer

Why Lazarus Laughed: The Essential Doctrine, Zen — Advaita — Tantra (1960)
Context: Doctrines, scriptures, sutras, essays, are not to be regarded as systems to be followed. They merely contribute to understanding. They should be for us a source of stimulation, and nothing more... Adopted, rather than used as a stimulus, they are a hindrance

Ramachandra Guha photo

“Three men did most to make Hinduism a modern faith. Of these the first was not recognized as a Hindu by the Shankaracharyas; the second was not recognized as a Hindu by himself; the third was born a Hindu but made certain he would not die as one. These three great reformers were Mahatma Gandhi, Jawaharlal Nehru, and B. R. Ambedkar. Gandhi and Nehru, working together, helped Hindus make their peace with modern ideas of democracy and secularism. Gandhi and Ambedkar, working by contrasting methods and in opposition to one another, made Hindus recognize the evils and horrors of the system of Untouchability. Nehru and Ambedkar, working sometimes together, sometimes separately, forced Hindus to grant, in law if not always in practice, equal rights to their women. The Gandhi-Nehru relationship has been the subject of countless books down the years. Books on the Congress, which document how these two made the party the principal vehicle of Indian nationalism; books on Gandhi, which have to deal necessarily with the man he chose to succeed him; books on Nehru, which pay proper respect to the man who influenced him more than anyone else. Books too numerous to mention, among which I might be allowed to single out, as being worthy of special mention, Sarvepalli Gopal’s Jawaharlal Nehru, B. R. Nanda’s Mahatma Gandhi, and Rajmohan Gandhi’s The Good Boatman. In recent years, the Gandhi-Ambedkar relationship has also attracted a fair share of attention. Some of this has been polemical and even petty; as in Arun Shourie’s Worshipping False Gods (which is deeply unfair to Ambedkar), and Jabbar Patel’s film Ambedkar (which is inexplicably hostile to Gandhi). But there have also been some sensitive studies of the troubled relationship between the upper caste Hindu who abhorred Untouchability and the greatest of Dalit reformers. These include, on the political side, the essays of Eleanor Zelliott and Denis Dalton; and on the moral and psychological side, D. R. Nagaraj’s brilliant little book The Flaming Feet. By contrast, the Nehru-Ambedkar relationship has been consigned to obscurity. There is no book about it, nor, to my knowledge, even a decent scholarly article. That is a pity, because for several crucial years they worked together in the Government of India, as Prime Minister and Law Minister respectively.”

Ramachandra Guha (1958) historian and writer from India

[Guha, Ramachandra, REFORMING THE HINDUS, http://ramachandraguha.in/archives/reforming-the-hindus.html, The Hindu, July 18th, 2004]
Articles

Luis J. Rodriguez photo
Ray Bradbury photo
Frank Chin photo

“I am out of theatre. I will not work with any theatre, producer, writer, director, or actor who plays and lives the stereotype. So I write fiction, essays, and articles.”

Frank Chin (1940) American writer

On his leaving the theater world (as quoted in the book Notable Asian Americans http://smithsonianapa.org/wp-content/uploads/sites/8/2009/10/chin-frank.pdf)

Arundhati Roy photo
Vinayak Damodar Savarkar photo
J. Howard Moore photo

“It is now fifty years since Woodrow Wilson wrote his brilliant essay on public administration.”

Marshall E. Dimock (1903–1991) American writer

It is a good essay to reread every so often; there is so much in it that sounds modern, so much that will hold permanently true... Political scientists owe Woodrow Wilson a debt of gratitude for opening their eyes to the broader importance and implications of administration. His keen mind also discerned the task which would occupy the attention of administrative theorists long after he was gone.
Source: "The Study of Administration." 1937, p. 28

E.M. Forster photo

“This title comes from a phrase from his 1938 essay "What I Believe" which is the first essay in the book.”

E.M. Forster (1879–1970) English novelist

Two Cheers for Democracy (1951)

Miguel de Unamuno photo
Karl Kraus photo

“Someone who can write aphorisms should not fritter away his time writing essays.”

Karl Kraus (1874–1936) Czech playwright and publicist

Half-Truths and One-And-A-Half Truths (1976)

“[N]othing gains weight but by the addition of matter, nor loses it but by its subtraction—so inseparably are matter and weight united, as has been shewn above in the sixth essay.”

John Rey (1583–1645) French chemist

Art. XI. A Translation of Rey's Essays on the Calcination of Metals, &c. (1822), Essay XV. Air dimishes in weight in three ways. The balance is deceitful, the means of remedying that.

Tara Westover photo
Tara Westover photo