Source: Star Maker (1937), Chapter III: The Other Earth; 3. The Prospects of the Race (pp. 44-45)
Quotes about maker
page 4
2010s, Yemen’s Unfinished Revolution, 2011
Source: The theory of environmental policy, 1988, p. 1
Source: My Years with General Motors, 1963, p. 20 (in 1964 edition)
Simply Assisting God
Grooks
"Samantha Power on U.S. Foreign Policy" http://web.archive.org/web/20120608140345/http://www.hks.harvard.edu/news-events/publications/insight/international/samantha-power, an interview with in Molly Lanzarotta, Harvard University, John F. Kennedy School of Government (14 March 2007)
Source: The Visitor (2002), Ch. 44 : the visitor
Context: "This place is a godland, you may call me god. Small g, for I am not proud. We are a race evolving in this Creation to serve the Maker of it. We act as temporary deities during the childhood of individual peoples and planets. I was the midwife who brought forth this world, who stirred the primordial ooze, and noted the life that crawled up from the sea. Our race is not unlike yours, but I am very old, and you are still very young."
"We come and go. I came to teach your people language. I raised up oracles, whispered to soothsayers, wove bright visions for sorcerers, and spoke marvels to your alchemists. I came again to raise up prophets in the the Real One's name: Bruno, Galileo, Newton, Fermi..."
The doctor interrupted, "The Real One? Who?"
"The Being whom I worship. The Ultimate who stands apart from time. The Deity some men think they are addressing when they pray with words. The Real One doesn't even perceive words. If IT did, imagine what IT would have to listen to! The Real One sees only the pattern of what is, where it begins and where it comes to rest. The only prayer IT perceives is action. … Only actions enter the pattern the Real One sees. What is. What was done. IT perceives neither intentions nor remorse."
“They see a race of law-makers legislating without knowing what their laws are about”
Source: Law and Authority (1886), I
Context: They see a race of law-makers legislating without knowing what their laws are about; today voting a law on the sanitation of towns, without the faintest notion of hygiene, tomorrow making regulations for the armament of troops, without so much as understanding a gun; making laws about teaching and education without ever having given a lesson of any sort, or even an honest education to their own children; legislating at random in all directions, but never forgetting the penalties to be meted out to ragamufffins, the prison and the galleys, which are to be the portion of men a thousand times less immoral than these legislators themselves.
“As the ancient myth makers knew, we are children equally of the earth and the sky.”
Source: Cosmos (1980), p. 318
Context: The choice is with us still, but the civilization now in jeopardy is all humanity. As the ancient myth makers knew, we are children equally of the earth and the sky. In our tenure on this planet we've accumulated dangerous evolutionary baggage — propensities for aggression and ritual, submission to leaders, hostility to outsiders — all of which puts our survival in some doubt. But we've also acquired compassion for others, love for our children and desire to learn from history and experience, and a great soaring passionate intelligence — the clear tools for our continued survival and prosperity. Which aspects of our nature will prevail is uncertain, particularly when our visions and prospects are bound to one small part of the small planet Earth. But up there in the immensity of the Cosmos, an inescapable perspective awaits us. There are not yet any obvious signs of extraterrestrial intelligence and this makes us wonder whether civilizations like ours always rush implacably, headlong, toward self-destruction. National boundaries are not evident when we view the Earth from space. Fanatical ethnic or religious or national chauvinisms are a little difficult to maintain when we see our planet as a fragile blue crescent fading to become an inconspicuous point of light against the bastion and citadel of the stars. Travel is broadening.
Source: The Great Divorce (1944–1945), Ch. 13
Context: "Ye can know nothing of the end of all things, or nothing expressible in those terms. It may be, as the Lord said to the Lady Julian, that all will be well, and all will be well, and all manner of things will be well. But it's ill talking of such questions."
"Because they are too terrible, Sir?"
"No. Because all answers deceive. If ye put the question from within Time and are asking about possibilities, the answer is certain. The choice of ways is before you. Neither is closed. Any man may choose eternal death. Those who choose it will have it. But if ye are trying to leap on into Eternity, if ye are trying to see the final state of all things as it will be (for so ye must speak) when there are no more possibilities left but only the Real, then ye ask what cannot be answered to mortal ears. Time is the very lens through which ye see — small and clear, as men see through the wrong end of a telescope — something that would otherwise be too big for ye to see at all. That thing is Freedom: the gift whereby ye most resemble your Maker and are yourselves parts of eternal reality. But ye can see it only through the lens of Time, in a little clear picture, through the inverted telescope. It is a picture of moments following one another and yourself in each moment making some choice that might have been otherwise. Neither the temporal succession nor the phantom of what ye might have chosen and didn't is itself Freedom. They are a lens. The picture is a symbol: but it's truer than any philosophical theorem (or, perhaps, than any mystic's vision) that claims to go behind it. For every attempt to see the shape of eternity except through the lens of Time destroys your knowledge of Freedom."
"Anton Ego" in Ratatouille (2007)
Context: In many ways, the work of a critic is easy. We risk very little, yet enjoy a position over those who offer up their work and their selves to our judgment. We thrive on negative criticism, which is fun to write and to read. But the bitter truth we critics must face, is that in the grand scheme of things, the average piece of junk is probably more meaningful than our criticism designating it so. But there are times when a critic truly risks something, and that is in the discovery and defense of the new. The world is often unkind to new talents, new creations. The new needs friends. Last night, I experienced something new; an extraordinary meal from a singularly unexpected source. To say that both the meal and its maker have challenged my preconceptions about fine cooking, is a gross understatement. They have rocked me to my core. In the past, I have made no secret of my disdain for Chef Gusteau's famous motto, "Anyone can cook". But I realize — only now do I truly understand what he meant. Not everyone can become a great artist, but a great artist can come from anywhere. It is difficult to imagine more humble origins than those of the genius now cooking at Gusteau's, who is, in this critic's opinion, nothing less than the finest chef in France. I will be returning to Gusteau's soon, hungry for more.
“We are the music makers,
And we are the dreamers of dreams,”
Music and Moonlight (1874), Ode
Context: We are the music makers,
And we are the dreamers of dreams,
Wandering by lone sea-breakers,
And sitting by desolate streams; —
World-losers and world-forsakers,
On whom the pale moon gleams:
Yet we are the movers and shakers
Of the world for ever, it seems.
Original short-story, "The Stainless Steel Rat" in Astounding magazine (August 1957) http://www.iol.ie/~carrollm/hh/ssrshort.htm
The Stainless Steel Rat
Context: When the office door opened suddenly I knew the game was up. It had been a money-maker — but it was all over. As the cop walked in I sat back in the chair and put on a happy grin. He had the same sombre expression and heavy foot that they all have — and the same lack of humour. I almost knew to the word what he was going to say before he uttered a syllable.
"James Bolivar diGriz I arrest you on the charge—"
I was waiting for the word charge, I thought it made a nice touch that way. As he said it I pressed the button that set off the charge of black powder in the ceiling, the crossbeam buckled and the three-ton safe dropped through right on the top of the cop's head. He squashed very nicely, thank you. The cloud of plaster dust settled and all I could see of him was one hand, slightly crumpled. It twitched a bit and the index finger pointed at me accusingly. His voice was a little muffled by the safe and sounded a bit annoyed. In fact he repeated himself a bit.
"On the charge of illegal entry, theft, forgery—"
He ran on like that for quite a while, it was an impressive list but I had heard it all before. I didn't let it interfere with my stuffing all the money from the desk drawers into my suitcase. The list ended with a new charge and I would swear on a stack of thousand credit notes that high that there was a hurt tone in his voice.
"In addition the charge of assaulting a police robot will be added to your record."
Source: Morals and Dogma of the Ancient and Accepted Scottish Rite of Freemasonry (1871), Ch. XXII : Knight of the Royal Axe, or Prince of Libanus, p. 341
Context: Whatsoever of morality and intelligence; what of patience, perseverance, faithfulness, of method, insight, ingenuity, energy; in a word, whatsoever of Strength a man has in him, will lie written in the Work he does. To work is to try himself against Nature and her unerring, everlasting laws: and they will return true verdict as to him. The noblest Epic is a mighty Empire slowly built together, a mighty series of heroic deeds, a mighty conquest over chaos. Deeds are greater than words. They have a life, mute, but undeniable; and grow. They people the vacuity of Time, and make it green and worthy.
Labor is the truest emblem of God, the Architect and Eternal Maker; noble Labor, which is yet to be the King of this Earth, and sit on the highest Throne. Men without duties to do, are like trees planted on precipices; from the roots of which all the earth has crumbled. Nature owns no man who is not also a Martyr. She scorns the man who sits screened from all work, from want, danger, hardship, the victory over which is work; and has all his work and battling done by other men; and yet there are men who pride themselves that they and theirs have done no work time out of mind. So neither have the swine.
“I'm really a theatre maker, but there's not a word for that.”
As quoted in "Theatre Director Probes Humanism" by Christopher Reardon in The Christian Science Monitor (13 November 1992), p. 10
Context: I've never been a puppeteer, I conceive and I write and I design and I direct. And not just puppets. I direct actors, I direct dancers, I direct singers, I direct films. I also direct puppeteers. I'm really a theatre maker, but there's not a word for that.
But that was a false image of God. The way Anton LaVey saw God also affected his view of Satan.
Open Letter To Satanists
The Sixteenth Revelation, Chapter 74
Context: Love and Dread are brethren, and they are rooted in us by the Goodness of our Maker, and they shall never be taken from us without end. We have of nature to love and we have of grace to love: and we have of nature to dread and we have of grace to dread. It belongeth to the Lordship and to the Fatherhood to be dreaded, as it belongeth to the Goodness to be loved: and it belongeth to us that are His servants and His children to dread Him for Lordship and Fatherhood, as it belongeth to us to love Him for Goodness.
Source: The Sacred Depths of Nature (1998), p. 173
Context: The tapestry maker first strings the warp, long strong fibers anchored firmly to the loom, and then interweaves the weft, the patterns, the color, the art. The epic of evolution is our warp, destined to endure, commanding our universal gratitude and reverence and commitment. And then, after that, we are all free to be artists, to render in language and painting and song and dance our ultimate hopes and concerns and understandings of human nature. Throughout the ages, the weaving of our religious weft has been the province of our prophets and gurus and liturgists and poets. The texts and art and ritual that come to us from these revered ancestors include claims about Nature and Agency that are no longer plausible. They use a different warp. But for me at least, this is just one of those historical facts, something that can be absorbed, appreciated, and then put aside as I encounter the deep wisdom embedded in these traditions and the abundant opportunities that they offer to experience transcendence and clarity.
“The poet is, etymologically, the maker.”
Texts and Pretexts (1932), p. 5
Context: The poet is, etymologically, the maker. Like all makers, he requires a stock of raw materials — in his case, experience. Now experience is not a matter of having actually swum the Hellespont, or danced with the dervishes, or slept in a doss-house. It is a matter of sensibility and intuition, of seeing and hearing the significant things, of paying attention at the right moments, of understanding and co-ordinating. Experience is not what happens to a man; it is what a man does with what happens to him. It is a gift for dealing with the accidents of existence, not the accidents themselves. By a happy dispensation of nature, the poet generally possesses the gift of experience in conjunction with that of expression.
The Creators: A History of Heroes of the Imagination (1992) (Vintage edition, 1993, ), Preface, p. XV.
Context: These creators, makers of the new, can never become obsolete, for in the arts there is no correct answer. The story of discoverers could be told in simple chronological order, since the latest science replaces what went before. But the arts are another story — a story of infinite addition. We must find order in the random flexings of the imagination.
Source: Present Status of the Philosophy of Law and of Rights (1926), Ch. I : What is Behind Us?, p. 1.
Context: When law was held to come direct from the gods, it required a bold man and a prophet to propose a change in it. Perhaps it is still true that a law-maker ought to be something of a prophet. But if so, we are committed in western lands to the belief that prophetic capacity is widespread: the making of law goes on everywhere merrily and apace.
In the midst of this vast labor it becomes clear to us that the more we relieve the gods of their burdens, the more we need to know what the gods know, the general principles on which law should be made. And if this knowledge were universal, and were applied in good faith, the law-makers themselves would in turn be relieved! In either case, then, we are bound to keep trying for a systematic grasp of those principles of law which we now possess in vague and fragmentary fashion.
Neuromancer (1984)
Context: Wintermute was hive mind, decision maker, effecting change in the world outside. Neuromancer was personality. Neuromancer was immortality. Marie-France must have built something into Wintermute, the compulsion that had driven the thing to free itself, to unite with Neuromancer.
The Judging of Jurgen (1920)
Context: In Philistia to make literature and to make trouble for yourself are synonyms,… the tumblebug explained. — I know, for already we of Philistia have been pestered by three of these makers of literature. Yes, there was Edgar, whom I starved and hunted until I was tired of it: then I chased him up a back alley one night, and knocked out those annoying brains of his. And there was Walt, whom I chivvied and battered from place to place, and made a paralytic of him: and him, too, I labelled offensive and lewd and lascivious and indecent. Then later there was Mark, whom I frightened into disguising himself in a clown's suit, so that nobody might suspect him to be a maker of literature: indeed, I frightened him so that he hid away the greater part of what he had made until after he was dead, and I could not get at him. That was a disgusting trick to play on me, I consider. Still, these are the only three detected makers of literature that have ever infested Philistia, thanks be to goodness and my vigilance, but for both of which we might have been no more free from makers of literature than are the other countries.…
The First Revelation, Chapter 6
Context: Our soul is so specially loved of Him that is highest, that it overpasseth the knowing of all creatures: that is to say, there is no creature that is made that may know how much and how sweetly and how tenderly our Maker loveth us. And therefore we may with grace and His help stand in spiritual beholding, with everlasting marvel of this high, overpassing, inestimable Love that Almighty God hath to us of His Goodness. And therefore we may ask of our Lover with reverence all that we will.
For our natural Will is to have God, and the Good Will of God is to have us; and we may never cease from willing nor from longing till we have Him in fullness of joy: and then may we no more desire.
Excerpted Comments Made by Reza Pahlavi of Iran to a Group of Prominent American Business Leaders in New York City http://www.rezapahlavi.org/details_article.php?article=414&page=2, Dec. 9, 2009.
Speeches, 2008-2009
The True Levellers Standard Advanced (1649)
As stated in the introduction of his book Creative Quest (as quoted in “The Last Word: Questlove on Why He Doesn’t Drink, Idolizing Dave Chappelle” https://www.rollingstone.com/music/music-features/the-last-word-questlove-on-why-he-doesnt-drink-idolizing-dave-chappelle-629466/ in Rolling Stone; 2018 Apr 19)
Tibawi, A.L. (ed. and tr.). (1965) Al-Risala al-Qudsiyya (The Jerusalem Epistle) “Al-Ghazali's Tract on Dogmatic Theology”. In: The Islamic Quarterly, 9:3–4 (1965), 3-4.
However, at times I come across works of mine which are soundly done and really in my style, and at such moments I find great solace. But no more of that. Painting, art in general, enchants me. It is my life. What else matters?
Quote in a letter, 20 Nov. 1883; as quoted in Painting Outside the lines, Patterns of Creativity in Modern Art, ed. David W. Galenson, Harvard University Press, 30 Jun 2009, p. 84
1880's
In [Khandekar, Vanita Kohli-, The Indian Media Business, http://books.google.com/books?id=1C4nAgAAQBAJ&pg=PA176, 3 October 2013, SAGE Publications, 978-81-321-1788-9, 176]
His grandson Kiran Phalke in "Dadasaheb Phalke's family wants Bharat Ratna for him".
Above two quotes by art historian Rakhee Balaram in the self in making AMRITA SHER-GIL, 7 December 2013, Kiran Nadar Museum of Arts. http://knma.in/exhibition/self-making-amrita-sher-gil-0.,
A police officer in Washington D.C quoted during one of Manikda’s visit in 1977 quoted in 29 March 2011, 13 December 2013, Times of India http://articles.timesofindia.indiatimes.com/2011-03-29/cinema/29356975_1_magic-moments-satyajit-ray-international-film-festival,
Jani Allan, "(Still) letting the good times roll", Sunday Times (1979), republished in Face Value by Jani Allan.
“See the Wikipedia article on The Tales of Alvin Maker for more information..”
The Tales of Alvin Maker
1840s, Heroes and Hero-Worship (1840), The Hero as Prophet
Introduction
The Complexity of Cooperation (1997)
Source: The Natural and Artificial Right of Property Contrasted (1832), p. 46
“What is the law?—Who are the law makers?”
The law is a great scheme of rules intended to preserve the power of government, secure the wealth of the landowner, the priest, and the capitalist, but never to secure his produce to the labourer.—The law-maker is never a labourer, and has no natural right to any wealth.—He takes no notice of the natural right of property.—Manifold miseries which result from his appropriating the produce of labour, and from the legal right of property being in opposition to the natural.
p. 44
The Natural and Artificial Right of Property Contrasted (1832)
you ask. "Well, I'll get more," he says. Just as at cricket, you get more runs. There's no use in the runs, but to get more of them than other people is the game. So all that great foul city of London there, — rattling, growling, smoking, stinking, — a ghastly heap of fermenting brickwork, pouring out poison at every pore, — you fancy it is a city of work? Not a street of it! It is a great city of play; very nasty play and very hard play, but still play.
The Crown of Wild Olive, lecture I: Work, sections 23-24 (1866)
15 July 2021 on DonaldJTrump.com https://web.archive.org/web/20210715183933/https://www.donaldjtrump.com/news/statement-by-donald-j-trump-45th-president-of-the-united-states-of-america-07.15.21-06
2021, July 2021
“Isn't it clear that the war makers are gambling with your lives, while pocketing huge profits?”
At a 1967 broadcast directed to U.S. troops, as quoted in "'Hanoi Hannah,' Whose Broadcasts Taunted And Entertained American GIs, Dies" in NPR (6 October 2016) https://www.npr.org/sections/thetwo-way/2016/10/05/496662815/hanoi-hannah-whose-broadcasts-taunted-and-entertained-american-gis-dies-at-87
During Vietnam War
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A Handmade Life: In Search of Simplicity