Session 830, Page 148
The Individual and the Nature of Mass Events, (1981)
Quotes about fantasy
page 5
“All fantasy should have a solid base in reality.”
Note to the 1946 edition
Zuleika Dobson http://www.gutenberg.org/dirs/etext99/zdbsn11.txt (1911)
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).
Leadership & Success quotes, http://www.sheikhmohammed.co.ae/vgn-ext-templating/v/index.jsp?vgnextoid=d2778960a5a11310VgnVCM1000004d64a8c0RCRD&appInstanceName=default, sheikhmohammed.ae.
Source: 1980s, Trump: The Art of the Deal (1987), p. 58
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
Pg 71
Becoming A Barbarian (2016)
Source: Debt: The First 5,000 Years (2011), Chapter Twelve, "1971–The Beginning…", p. 373
The Guardian, 10 November 2008 http://www.guardian.co.uk/commentisfree/2008/nov/10/barack-obama-zombies-running
Guardian columns
Sam Harris at Sydney Opera House Festival of Dangerous Ideas 2012, Discussion on Free Will http://www.youtube.com/watch?v=JM3raA1EwrI.
2010s
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)
“My fantasies have never been safe ones.”
Source: "Unsafe at Any Speed or: Safe, Sane and Consensual, My Fanny", p. 12
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
Source: Vamps and Tramps (1994), "No Law in the Arena: A Pagan Theory of Sexuality", p. 37
"Natural Attraction: Bacteria, the Birds, and the Bees", p. 313
The Panda's Thumb (1980)
The Guardian http://www.guardian.co.uk/film/2005/oct/08/features.fiction (2005-10-08)
On Before Sunset (2004)
2005–2009
Freud and Literature
The Liberal Imagination (1950)
2010s, The American Art of Renewal (2018)
Source: Jacques Lipchitz: The Artist at Work, 1966, p. 60
Source: The Russian Revolution (1918), Chapter Five, "The Question of Suffrage"
Source: Wagers of Sin (1996), Chapter 21 (p. 428)
"The Iceman Cometh," pp. 353-354
5001 Nights at the Movies (1982)
Source: The Crying of Lot 49 (1966), Chapter 5
Young Men and Fire (1992)
Source: 2010s, Why Marx Was Right (2011), Chapter 1, p. 8
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
Source: Quotes of Salvador Dali, 1961 - 1970, Diary of a Genius (1964), p. 23 - on new Surrealism techniques and methods.
Review http://www.rogerebert.com/reviews/dogville-2004 of Dogville (9 April 2004)
Reviews, Two star reviews
in Discussion on Corpora-list (5 March 2015) http://mailman.uib.no/public/corpora/2015-March/022161.html
The Great Liberal Death Wish, lecture at Hillsdale College, Hillsdale, Michigan, USA, March 1979. Transcript in Imprimis http://imprimisarchives.hillsdale.edu/file/archives/pdf/1979_05_Imprimis.pdf May 1979 (pdf).
Other
Source: Why Men Are the Way They Are (1988), p. 18.
'In Which the Anarcho-Syndicalists Discover C4SS' (2016)
Other Writing
“The muse in charge of fantasy wears good, sensible shoes.”
"The Flat-Heeled Muse" http://www.hbook.com/1965/04/choosing-books/horn-book-magazine/flat-heeled-muse/, Horn Book Magazine (1 April 1965)
“Ch. III: Mind - Its Functions and Its Fantasies”
Fire without Fuel - The Aphorisms of Baba Hari Dass, 1986
Fanfrolico and After (London: Bodley Head, 1962), pp. 217-218.
GG Allin on The Jane Whitney Show July 16. 1993.
On The Jane Whitney Show
Superman Comes to the Supermarket (1960)
Newbery Award acceptance speech (1969)
The Paranoid Style in American Politics (1964)
Why Women Are Also Incapable of Intimacy, pp. 120–121
What Men Still Don't Know About Women, Relationships, and Love (2007)
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
1990s, The Monarchy: A Critique of Britain's Favourite Fetish
“I am often asked is [my work] science fiction or fantasy and my answer is usually ‘Yes’.”
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.
Epilogue
Raising the Peaceable Kingdom (2005)
"Wishful Thinking – Or Hopeful Dreaming?" (1968)
"12th Foundational Falsehood of Creationism" https://www.youtube.com/watch?v=2TkY7HrJOhc Youtube (April 19, 2008)
Youtube, Foundational Falsehoods of Creationism
So it all came together and now we have the song 'Go!,' which is about going to my fantasy.
On working with Kanye West and John Mayer on the track "Go." (2004) ( From MTV.com http://www.mtv.com/bands/c/common/common_q_and_a_050620/)
Interviews
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.
http://www.laurellkhamilton.org/Laurell.html LaurelKHamilton.com
About
"The Furniture Rule", explaining the differences and similarities between the fields of weird fiction in Dreamsongs
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
“You meet the unknown with fantasy. That's what dreams do.”
Other
“Two meanings have our lightest fantasies, —
One of the flesh, and of the spirit one.”
Sonnet XXXIV
Sonnets (1844)
Preface.
A History of Science Vol.1 Ancient Science Through the Golden Age of Greece (1952)
Quote from 'I put me on this train', interview with Art Papier, 1979; as cited in: Joseph Beuys in America: Energy Plan for the Western Man, Carin Kuoni; New York, 1993, p. 44
1970's
“Privacy is a bourgeois fantasy.”
from a talk given at Arse Elektronika http://monochrom.at/arse-elektronika/ 2010
As quoted in An Encyclopedia of Quotations About Music (1981) by Nat Shapiro, p. 194
“Facts are more mundane than fantasies, but a better basis for conclusions.”
Salon.com, 05/26/05
Source: Books, The Arabs in History (1950), p. 45-46
"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.
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.
“To imagine that trauma casts out fantasy is a dangerous mistake.”
"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.
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.
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.
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.
"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.
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.
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.
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.
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.
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.