Quotes about fantasy
page 5

Jane Roberts photo
Vikram Sarabhai photo
Max Beerbohm photo

“All fantasy should have a solid base in reality.”

Max Beerbohm (1872–1956) English writer

Note to the 1946 edition
Zuleika Dobson http://www.gutenberg.org/dirs/etext99/zdbsn11.txt (1911)

“This London, of course, with its hollow, drum-like name, is neither England nor abroad but something on its own, a walled fantasy of remembered tales.”

Laurie Lee (1914–1997) British writer

Eight-Year-Old World, p. 26.
I Can't Stay Long (1975)

“Scientific language that is correct and serious so far as teachers and students are concerned must follow these stylistic norms:
# Be as verbally explicit and universal as possible…. The effect is to make `proper' scientific statements seem to talk only about an unchanging universal realm….
# Avoid colloquial forms of language and use, even in speech, forms close to those of written language. Certain words mark language as colloquial…, as does use of first and second person…
# Use technical terms in place of colloquial synonyms or paraphrases….
# Avoid personification and use of specifically or usually human attributes or qualities…, human agents or actors, and human types of action or process…
# Avoid metaphoric and figurative language, especially those using emotional, colorful, or value laden words, hyperboles and exaggeration, irony, and humorous or comic expressions.
# Be serious and dignified in all expression of scientific content. Avoid sensationalism.
# Avoid personalities and reference to individual human beings and their actions, including (for the most part) historical figures and events….
# Avoid reference to fiction or fantasy.
# Use causal forms of explanation and avoid narrative and dramatic accounts…. Similarly forbidden are dramatic forms, including dialogue, the development of suspense or mystery, the element of surprise, dramatic action, and so on.”

Jay Lemke (1946) American academic

Source: Talking Science: Language, Learning, and Values. 1990, p. 133-134, as cited in: Mary U. Hanrahan, "Applying CDA to the analysis of productive hybrid discourses in science classrooms." (2002).

Susan Sontag photo

“Painters and sculptors under the Nazis often depicted the nude, but they were forbidden to show any bodily imperfections. Their nudes look like pictures in physique magazines: pinups which are both sanctimoniously asexual and (in a technical sense) pornographic, for they have the perfection of a fantasy.”

Fascism" http://www.history.ucsb.edu/faculty/marcuse/classes/33d/33dTexts/SontagFascinFascism75.htm"Fascinating (1974), published in The New York Review of Books (6 February 1975) and reprinted in Sontag's Under the Sign of Saturn (1980), p. 92, ISBN 0312420080

Mohammed bin Rashid al-Maktoum photo

“We strive to eradicate the commercial borders and obstacles between Arab countries so that we may achieve the dream of economic unity because political unity amongst Arabs has become a distant fantasy.”

Mohammed bin Rashid al-Maktoum (1949) Emirati politician

Leadership & Success quotes, http://www.sheikhmohammed.co.ae/vgn-ext-templating/v/index.jsp?vgnextoid=d2778960a5a11310VgnVCM1000004d64a8c0RCRD&appInstanceName=default, sheikhmohammed.ae.

Donald J. Trump photo
John Holloway photo

“A fantasy of mine is to have an orgy with about six young college guys ranging from 18 to 22 in age.”

Ted Haggard (1956) American minister

Reported by Mike Jones, " Haggard Admits Buying Meth: Evangelical Leader Denies Accusation of Paying Former Gay Prostitute for Sex http://abcnews.go.com/GMA/story?id=2626067&page=2", ABC News, accessed November 6, 2006.
Attributed

John Gray photo
Theo Jansen photo
David Graeber photo

“I believe that I have now experienced the lifetime maximum exposure to bottom spanking in fantasy novels.”

James Nicoll (1961) Canadian fiction reviewer

[diu2g2$dc1$1@reader2.panix.com, 2005]
2000s

Charlie Brooker photo
Sam Harris photo
Orson Scott Card photo
John Banville photo
Nigella Lawson photo

“While I am sure there are a number of women who secretly wonder whether they are lesbian, most simply have, somewhere, a fantasy about having sex, in a non-defining, non-exclusive way, with other women.”

Nigella Lawson (1960) British food writer, journalist and broadcaster

As written in "Sapphism is more than designer-dykery" by Nigella Lawson in The Guardian http://observer.guardian.co.uk/comment/story/0,6903,416467,00.html (31 December 2000)

Laura Antoniou photo

“My fantasies have never been safe ones.”

Laura Antoniou (1963) American novelist

Source: "Unsafe at Any Speed or: Safe, Sane and Consensual, My Fanny", p. 12

Ann Coulter photo

“If we took away women's right to vote, we'd never have to worry about another Democrat president. It's kind of a pipe dream, it's a personal fantasy of mine, but I don't think it's going to happen. And it is a good way of making the point that women are voting so stupidly, at least single women.”

Ann Coulter (1961) author, political commentator

interview with New York Observer 2007-10-02, quoted in * Coulter: "If we took away women's right to vote, we'd never have to worry about another Democrat president"
Media Matters for America
2007-10-04
http://mediamatters.org/research/200710040011
2007

Jean Genet photo
Camille Paglia photo
Edward Albee photo
Ethan Hawke photo
Andrew Solomon photo
Susan Sontag photo
John Gray photo
Victor Davis Hanson photo
Jacques Lipchitz photo
Rosa Luxemburg photo
Regina Jonas photo

“It is nothing special to see women, it is a matter of being accustomed, it does not excite the fantasies of a man.”

Regina Jonas (1902–1944) rabbi

Can a Woman Be a Rabbi According to Halachic Sources?

Robert Lynn Asprin photo
Pauline Kael photo
Roberto Mangabeira Unger photo
Charles Mackay photo
Margaret Cho photo

“Stop the fantasy we need to be defending freedom, because we don't have freedom in our own country yet.”

Margaret Cho (1968) American stand-up comedian

From Her Books, I Have Chosen To Stay And Fight, WAR

Terry Eagleton photo
Nicolas Chamfort photo

“Love, as it exists in society, is nothing but the exchange of two fantasies and the contact of two skins.”

Nicolas Chamfort (1741–1794) French writer

L'amour, tel qu'il existe dans la société, n'est que l'échange de deux fantaisies et le contact de deux épidermes.
Maximes et pensées (1805), nr. 359

Salvador Dalí photo
Jacob Bronowski photo
Roger Ebert photo
Malcolm Muggeridge photo
Lucius Shepard photo
Vincent Gallo photo
Jordan Peterson photo

“You plunge into that underworld space, and that's also where you begin to nurse feelings of resentment and aggrievement and murder and homicide, and even worse. If people are betrayed enough, they become obsessed with the futility of being itself, and they go to places where perhaps no one would ever want to go if they were in their right mind. And they begin to nurse fantasies of the ultimate revenge, and that's a horrible place to be. And that's hell. That's why hell has always been a suburb of the underworld, because if you get plunged into a situation that you don't understand, and things are not good for you anymore, it's only one step from being completely confused, to being completely outraged and resentful, and then it's only one step from there to really looking for revenge. And that can take you places – well, that merely to imagine properly can be traumatic. And I've seen that with people many times. And I think that anybody who uses their imagination on themselves can see how that happens, because I can't imagine that there isn't a single person in the room who hasn't nursed fairly intense fantasies of revenge, at least at one point in their life – and usually for what appear to be good reasons. It can shake your faith in being to be betrayed, but if it shakes it so badly that you turn against being itself, that's certainly no solution. All it does is make everything that's bad, even worse.”

Jordan Peterson (1962) Canadian clinical psychologist, cultural critic, and professor of psychology

Other

Warren Farrell photo

“. The central theme of contemporary autonomist Marxism is a shift from giant organizations and insurrectional seizure to gradualism and Exodus. The rapid transformation of the working class, the blurring of the lines between work and the rest of life, and the shift in meeting a growing share of our needs into the informal and social economy, mean that the Old Left’s workerism (and like Harry Cleaver, I include syndicalism and council communism in the Old Left), its focus on the production process as the center of society, and its treatment of the industrial proletariat as the subject of history, have become obsolete. In this regard, read Toni Negri’s contrast of the Multitude to previous Old Left ideas of the proletariat. Mostly, I call it a heroic fantasy because any model that envisions a post-capitalist transition based on the universal adoption of any monolithic, schematized social model is as ridiculous as Socrates and Glaucon discussing what musical instruments and poetic metres will be permitted in the perfect state. The real world version of the post-capitalist transition — just as with the transition to capitalism five centuries earlier — isn’t a matter of any single cohesive social class, as the subject of history, systematically remaking the world guided by some single, comprehensive ideology, and organized around a uniform institutional model. It’s a matter of a wide variety of prefigurative institutions and technological building blocks that already exist in the present society, continuing to grow and coalesce together until they reach sufficient critical mass for a phase transition — a phase transition whose outlines can only be guessed at in the most general terms. This is the model advocated by Michel Bauwens, by Paul Mason, by John Holloway, by Peter Frase, and by a lot of other people who can hardly be fitted into any American individualist ghetto.”

Kevin Carson (1963) American academic

'In Which the Anarcho-Syndicalists Discover C4SS' (2016)
Other Writing

“The muse in charge of fantasy wears good, sensible shoes.”

Lloyd Alexander (1924–2007) American children's writer

"The Flat-Heeled Muse" http://www.hbook.com/1965/04/choosing-books/horn-book-magazine/flat-heeled-muse/, Horn Book Magazine (1 April 1965)

Baba Hari Dass photo

“Ch. III: Mind - Its Functions and Its Fantasies”

Baba Hari Dass (1923–2018) master yogi, author, builder, commentator of Indian spiritual tradition

Fire without Fuel - The Aphorisms of Baba Hari Dass, 1986

GG Allin photo
Norman Mailer photo
John Green photo

“It is generally assumed that men are damaged in their capacity for closeness and intimacy. If intimacy is defined as a loving closeness with another person, then it is usually true that the early conditioning of men to be performers and competitors in the impersonal competitive world limits their intimacy capacity. Women are assumed to have a greater capacity for intimacy than men because they express caring emotions and allow themselves to be dependent and close in relationships more easily. Yet, a closer look will provide a different perspective.

True intimacy is love and closeness based on knowledge of the inner reality and inner experience of the other. However, in romantic relationships, closeness ends or is put into crisis when men describe honestly their inner experiences to women. Women assail the relationship behavior of men and men acknowledge what they are told. Rarely is the opposite true. Men accept the reality of women more than women accept the reality of men.

The fact that a woman's priority is placed on personal needs bears no relationship to a genuine capacity for intimacy. To be loved and known, and to be fully comfortable expressing one's personal self, are two major components of intimacy. There are few men who have received that from a woman. The opposite holds true. A woman's love for a man is contingent on his participating in her romantic fantasy of what he and the relationship should be. Few men risk challenging or undermining that fantasy. Instead, they play by the rules of romance even when it feels uncomfortable, knowing that being loved by her is fragile and easily broken once he reveals his resistances and unromantic feelings.”

Herb Goldberg (1937–2019) American psychologist

Why Women Are Also Incapable of Intimacy, pp. 120–121
What Men Still Don't Know About Women, Relationships, and Love (2007)

John Cleese photo
Henry Moore photo

“One knows that later Giacometti broke this domination surrealist influence of Breton, and he became completely interested again in the figure, he became figurative – he did nothing in the end but portraits of his brother and so on, and all very.... not realistic, but interested in life, in nature, and not so much in the dream or in the fantasy.”

Henry Moore (1898–1986) English artist

Quote in 'Henry Moore in Spain' / 'Henry Moore interview', c. 1981, HMF Library; as cited in Henry Moore writings and Conversations, ed. Alan Wilkinson, University of California Press, California 2002, p. 152
1970 and later

Christopher Hitchens photo
Vincent Gallo photo
China Miéville photo

“I am often asked is [my work] science fiction or fantasy and my answer is usually ‘Yes’.”

China Miéville (1972) English writer

In a panel about his work in Comic Con 2010. Quoted in China Miéville Takes Comic Con http://www.tor.com/blogs/2010/08/china-mieville-takes-comic-con.

Jeffrey Moussaieff Masson photo
Nadine Gordimer photo
Aron Ra photo
Common (rapper) photo
Tommy Lasorda photo

“I knew something was up when he couldn't go to his right. He said he was living his fantasy, and I said it was my fantasy to get his [rear] off the field.”

Tommy Lasorda (1927) American baseball player and coach

Obituary http://www.latimes.com/news/obituaries/la-me-barry-bremen-20110707,0,2935425.story, LA Times, 2011-07-07
Describing how he caught "Great Imposter" Barry Bremen in a Mets uniform shagging balls in the outfield before the 1986 All-Star Game at the Houston Astrodome.

Robert E. Howard photo
George Raymond Richard Martin photo
Jean Dubuffet photo

“.. to challenge the objective nature of being. The notion of being is presented here as relative rather than irrefutable: it is merely a projection of our minds, a whim of our thinking. The mind has the right to establish being wherever it cares to and for as long as it likes. There is no intrinsic difference between being and fantasy.”

Jean Dubuffet (1901–1985) sculptor from France

Quote in a letter of Dubuffet to Arnold Glimcher, as cited by Valery Oisteanu, Jean Dubuffet: The Last Two Years http://brooklynrail.org/2012/03/artseen/jean-dubuffet-the-last-two-years. The Brooklyn Rail, March 2012.
posthumous

Jordan Peterson photo

“You meet the unknown with fantasy. That's what dreams do.”

Jordan Peterson (1962) Canadian clinical psychologist, cultural critic, and professor of psychology

Other

James Russell Lowell photo

“Two meanings have our lightest fantasies, —
One of the flesh, and of the spirit one.”

James Russell Lowell (1819–1891) American poet, critic, editor, and diplomat

Sonnet XXXIV
Sonnets (1844)

George Sarton photo
Joseph Beuys photo
Johannes Grenzfurthner photo

“Privacy is a bourgeois fantasy.”

Johannes Grenzfurthner (1975) Austrian artist, writer, curator, and theatre and film director

from a talk given at Arse Elektronika http://monochrom.at/arse-elektronika/ 2010

Daniel Dennett photo

“I have grown accustomed to the disrespect expressed by some of the participants for their colleagues in the other disciplines. "Why, Dan," ask the people in artificial intelligence, "do you waste your time conferring with those neuroscientists? They wave their hands about 'information processing' and worry about where it happens, and which neurotransmitters are involved, but they haven't a clue about the computational requirements of higher cognitive functions." "Why," ask the neuroscientists, "do you waste your time on the fantasies of artificial intelligence? They just invent whatever machinery they want, and say unpardonably ignorant things about the brain." The cognitive psychologists, meanwhile, are accused of concocting models with neither biological plausibility nor proven computational powers; the anthropologists wouldn't know a model if they saw one, and the philosophers, as we all know, just take in each other's laundry, warning about confusions they themselves have created, in an arena bereft of both data and empirically testable theories. With so many idiots working on the problem, no wonder consciousness is still a mystery. All these charges are true, and more besides, but I have yet to encounter any idiots. Mostly the theorists I have drawn from strike me as very smart people – even brilliant people, with the arrogance and impatience that often comes with brilliance – but with limited perspectives and agendas, trying to make progress on the hard problems by taking whatever shortcuts they can see, while deploring other people's shortcuts. No one can keep all the problems and details clear, including me, and everyone has to mumble, guess and handwave about large parts of the problem.”

Consciousness Explained (1991)

Claude Debussy photo

“The music I desire must be supple enough to adapt itself to the lyrical effusions of the soul and the fantasy of dreams.”

Claude Debussy (1862–1918) French composer

As quoted in An Encyclopedia of Quotations About Music (1981) by Nat Shapiro, p. 194

John Perry Barlow photo
Amory B. Lovins photo

“Facts are more mundane than fantasies, but a better basis for conclusions.”

Amory B. Lovins (1947) American physicist

Salon.com, 05/26/05

Bernard Lewis photo
E. B. White photo

“The subtlest change in New York is something people don't speak much about but that is in everyone's mind. The city, for the first time in its long history, is destructible. A single flight of planes no bigger than a wedge of geese can quickly end this island fantasy, burn the towers, crumble the bridges, turn the underground passages into lethal chambers, cremate the millions. The intimation of mortality is part of New York now: in the sounds of jets overhead, in the black headlines of the latest edition.”

E. B. White (1899–1985) American writer

"Here Is New York," Holiday (1948); reprinted in Here is New York (1949)
Context: The subtlest change in New York is something people don't speak much about but that is in everyone's mind. The city, for the first time in its long history, is destructible. A single flight of planes no bigger than a wedge of geese can quickly end this island fantasy, burn the towers, crumble the bridges, turn the underground passages into lethal chambers, cremate the millions. The intimation of mortality is part of New York now: in the sounds of jets overhead, in the black headlines of the latest edition.
All dwellers in cities must dwell with the stubborn fact of annihilation; in New York the fact is somewhat more concentrated because of the concentration of the city itself and because, of all targets, New York has a certain clear priority. In the mind of whatever perverted dreamer who might loose the lightning, New York must hold a steady, irresistible charm.

Michael Crichton photo

“Environmentalism needs to be absolutely based in objective and verifiable science, it needs to be rational, and it needs to be flexible. And it needs to be apolitical. To mix environmental concerns with the frantic fantasies that people have about one political party or another is to miss the cold truth — that there is very little difference between the parties, except a difference in pandering rhetoric.”

Michael Crichton (1942–2008) American author, screenwriter, film producer

Environmentalism as a Religion (2003)
Context: Environmentalism needs to be absolutely based in objective and verifiable science, it needs to be rational, and it needs to be flexible. And it needs to be apolitical. To mix environmental concerns with the frantic fantasies that people have about one political party or another is to miss the cold truth — that there is very little difference between the parties, except a difference in pandering rhetoric. The effort to promote effective legislation for the environment is not helped by thinking that the Democrats will save us and the Republicans won't. Political history is more complicated than that.

Ellen Willis photo

“To imagine that trauma casts out fantasy is a dangerous mistake.”

Ellen Willis (1941–2006) writer, activist

"Dreaming of War," The Nation (15 October 2001)
Context: For a decade Americans have been steeped in the rhetoric of "zero tolerance" and the faith that virtually all problems from drug addiction to lousy teaching can be solved by pouring on the punishment. Even without a Commander in Chief who pledges to rid the world of evildoers, smoke them out of their holes and the like, we would be vulnerable to the temptation to brush aside frustrating complexities and relieve intolerable fear (at least for the moment) by settling on one or more scapegoats to crush. To imagine that trauma casts out fantasy is a dangerous mistake.

Terry Gilliam photo

“Well, I really want to encourage a kind of fantasy, a kind of magic. I love the term magic realism, whoever invented it — I do actually like it because it says certain things. It's about expanding how you see the world.”

Terry Gilliam (1940) American-born British screenwriter, film director, animator, actor and member of the Monty Python comedy troupe

As quoted in "Salman Rushdie talks with Terry Gilliam", in The Believer (March 2003) http://www.believermag.com/issues/200303/?read=interview_gilliam
Context: Well, I really want to encourage a kind of fantasy, a kind of magic. I love the term magic realism, whoever invented it — I do actually like it because it says certain things. It's about expanding how you see the world. I think we live in an age where we're just hammered, hammered to think this is what the world is. Television's saying, everything's saying "That's the world." And it's not the world. The world is a million possible things.

Philip Pullman photo

“I have said that His Dark Materials is not fantasy but stark realism, and my reason for this is to emphasise what I think is an important aspect of the story, namely the fact that it is realistic, in psychological terms.”

Philip Pullman (1946) English author

Interview at Achuka Children's Books http://www.achuka.co.uk/archive/interviews/ppint.php
Context: I have said that His Dark Materials is not fantasy but stark realism, and my reason for this is to emphasise what I think is an important aspect of the story, namely the fact that it is realistic, in psychological terms. I deal with matters that might normally be encountered in works of realism, such as adolescence, sexuality, and so on; and they are the main subject matter of the story — the fantasy (which, of course, is there: no-one but a fool would think I meant there is no fantasy in the books at all) is there to support and embody them, not for its own sake.

“The "poetic avant-garde" relies on fantasy and dream reality as much as the Theatre of the Absurd does; it also disregards such traditional axioms as that of the basic unity and consistency of each character or the need for a plot.”

Martin Esslin (1918–2002) Playwright, theatre critic, scholar

Introduction : The absurdity of the Absurd
The Theatre of the Absurd (1961)
Context: The "poetic avant-garde" relies on fantasy and dream reality as much as the Theatre of the Absurd does; it also disregards such traditional axioms as that of the basic unity and consistency of each character or the need for a plot. Yet basically the "poetic avant-garde" represents a different mood; it is more lyrical, and far less violent and grotesque. Even more important is its different attitude toward language: the "poetic avant-garde" relies to a far greater extent on consciously "poetic" speech; it aspires to plays that are in effect poems, images composed of a rich web of verbal associations.
The Theatre of the Absurd, on the other hand, tends toward a radical devaluation of language, toward a poetry that is to emerge from the concrete and objectified images of the stage itself. The element of language still plays an important part in this conception, but what happens on the stage transcends, and often contradicts, the words spoken by the characters. In Ionesco's The Chairs, for example, the poetic content of a powerfully poetic play does not lie in the banal words that are uttered but in the fact that they are spoken to an ever-growing number of empty chairs.

Elizabeth Hand photo

“So much fantasy relies on the author's having read Fraser's The Golden Bough or Robert Graves' The White Goddess and nothing else.”

Elizabeth Hand (1957) American writer

"Intense Ornate" interview with Amazon.co.uk (1999) http://www.elizabethhand.com/interview99.shtml
Context: So much fantasy relies on the author's having read Fraser's The Golden Bough or Robert Graves' The White Goddess and nothing else. The White Goddess is a crank book, a crank book of genius of course, but all the same... Mind you, I found Waking the Moon cited in an article in a pagan magazine as an authority for the idea that there was a patriarchal brotherhood, the Benandanti, that have been running things since antiquity, with no mention of the fact that it is a novel, and a fantasy at that. People want to believe something, and so they swallow anything.

George Raymond Richard Martin photo

“It doesn't seem to matter what gods you pray to. We all die, in the real world and in fantasy worlds, and if there was some religion where you did not die I suspect that would be, that god would become very popular.”

George Raymond Richard Martin (1948) American writer, screenwriter and television producer

Discussing the influence of real-life faiths on his work and its religious systems, Authors@Google (August 2011)
Context: I think worship of death is an interesting basis for religion, because after all death is the one universal. It doesn't seem to matter what gods you pray to. We all die, in the real world and in fantasy worlds, and if there was some religion where you did not die I suspect that would be, that god would become very popular. They all promise us eternal life, but whatever.

George Raymond Richard Martin photo

“The battle between good and evil is a legitimate theme for a Fantasy (or for any work of fiction, for that matter), but in real life that battle is fought chiefly in the individual human heart.”

George Raymond Richard Martin (1948) American writer, screenwriter and television producer

infinity plus interview (2001)
Context: The battle between good and evil is a legitimate theme for a Fantasy (or for any work of fiction, for that matter), but in real life that battle is fought chiefly in the individual human heart. Too many contemporary Fantasies take the easy way out by externalizing the struggle, so the heroic protagonists need only smite the evil minions of the dark power to win the day. And you can tell the evil minions, because they're inevitably ugly and they all wear black.
I wanted to stand much of that on its head.
In real life, the hardest aspect of the battle between good and evil is determining which is which.

Patrick Rothfuss photo

“As far as I can tell, my story is part autobiography, part hero's journey, part epic fantasy, part travelogue, part faerie tale, part coming of age story, part romance, part mystery, part metafictional-nested-story-frame-tale-something-or-other.
I am, quite frankly, making this up as I go.”

Patrick Rothfuss (1973) American fantasy writer

On the progress of The Wise Man's Fear in "Concerning the Release of Book Two" (26 February 2009) http://blog.patrickrothfuss.com/2009/02/concerning-the-release-of-book-two/
Official site
Context: My book is different.
In case you hadn't noticed, the story I'm telling is a little different. It's a little shy on the Aristotelian unities. It doesn't follow the classic Hollywood three-act structure. It's not like a five-act Shakespearean play. It's not like a Harlequin romance.
So what *is* the structure then? Fuck if I know. That's part of what's taking me so long to figure out. As far as I can tell, my story is part autobiography, part hero's journey, part epic fantasy, part travelogue, part faerie tale, part coming of age story, part romance, part mystery, part metafictional-nested-story-frame-tale-something-or-other.
I am, quite frankly, making this up as I go. If I get it right, I get something like The Name of the Wind. Something that makes all of us happy.
But if I fuck it up, I'll end up with a confusing tangled mess of a story.
Now I'm not trying to claim that I'm unique in this. That I'm some lone pioneer mapping the uncharted storylands. Other authors do it too. My point is that doing something like this takes more time that writing another shitty, predictable Lord of the Rings knockoff.
Sometimes I think it would be nice to write a that sort of book. It would be nice to be able to use those well-established structures like a sort of recipe. A map. A paint-by-numbers kit.
It would be so much easier, and quicker. But it wouldn't be a better book. And it's not really the sort of book I want to write.

Jean Piaget photo

“From the intellectual point of view, he mingles his own fantasies with accepted opinions, whence arise pseudo lies (or sincere lies), syncretism, and all the features of child thought.”

Jean Piaget (1896–1980) Swiss psychologist, biologist, logician, philosopher & academic

Source: The Moral Judgment of the Child (1932), Ch. 1 : The Rules of the Game, § 8 : Conclusions : Motor Rules and the Two Kinds of Respect
Context: Every observer has noted that the younger the child, the less sense he has of his own ego. From the intellectual point of view, he does not distinguish between external and internal, subjective and objective. From the point of view of action, he yields to every suggestion, and if he does oppose to other people's wills — a certain negativism which has been called "the spirit of contradiction" — this only points to his real defenselessness against his surroundings. A strong personality can maintain itself without the help of this particular weapon. The adult and the older child have complete power over him. They impose their opinions and their wishes, and the child accepts them without knowing that he does so. Only — and this is the other side of the picture — as the child does not dissociate his ego from the environment, whether physical or social, he mixes into all his thoughts and all his actions, ideas and practices that are due to the intervention of his ego and which, just because he fails to recognize them as subjective, exercise a check upon his complete socialization. From the intellectual point of view, he mingles his own fantasies with accepted opinions, whence arise pseudo lies (or sincere lies), syncretism, and all the features of child thought. From the point of view of action, he interprets in his own fashion the examples he has adopted, whence the egocentric form of play we were examining above. The only way of avoiding these individual refractions would lie in true cooperation, such that both child and senior would each make allowance for his own individuality and for the realities that were held in common.

P. J. O'Rourke photo

“True ideology has vanished, replaced by fear and fantasy. The right wing wants corporate control and a return to a past that never existed. The left wing wants government control and a future that will never exist.”

Spark (2014)
Context: True ideology has vanished, replaced by fear and fantasy. The right wing wants corporate control and a return to a past that never existed. The left wing wants government control and a future that will never exist. Both groups lose sight of the essential questions: how can the individual speak and think and create freely? New ideas are the only evolutionary force that will save us from destruction.