Quotes about obsession
page 3

Alison Bechdel photo
Linda McCartney photo
Ossip Zadkine photo
Charles Stross photo
Salvador Dalí photo

“It is a question of the systematic and interpretive organization of the sensational, scattered and narcissist surrealist experimental material, - that is to say, of everyday surrealist events:, br>nocturnal pollution, false recollection, dream, diurnal fantasy, the concrete transformation of nocturnal phosphene into a hypnagogic image or of "waking phosphene" into an objective image, - the nutritive caprice, - inter-uterine claims, - anamorphic hysteria, - the voluntary retention of the urine, - the involuntary retention of insomnia - the fortuitous image of exclusively exhibitionist tendency, -the incomplete action, - the frantic manner, - the regional sneeze, the anal wheelbarrow, the minimal mistake, the liliputian malaise, the super-normal physiological state, - the picture one leaves off painting, that which one paints, the territorial ringing of the telephone, "the deranging image", etc., etc.,
all these things, I say, and a thousand other instantaneous or successive sollicitations, revealing a minimum of irrational intentionalety or, on the contrary, a minimum of suspect phenomenal nullity, are associated, by the mechanisms of paranoiac-critical activity, in an indestructible delirious-interpretive system of political problems, paralytic images, more or less mammiferous questions, playing the role of the obsessing idea.”

Salvador Dalí (1904–1989) Spanish artist

Source: Quotes of Salvador Dali, 1931 - 1940, My Pictorial Struggle', S. Dali, 1935, Chapter: 'My Pictorial Struggle', pp. 15-16

Starhawk photo
Clay Shirky photo
Hillary Clinton photo
Thomas Sowell photo
Glen Cook photo

“A sign of advancing age. You start obsessing about how much you have to get done in the time that you have left.”

Source: Soldiers Live (2000), Chapter 43, “The Taglian Shadowlands: The Shadowgate” (p. 514)

Patrick Modiano photo

“p>One translucent day I leave the city
to visit my home, the land of Champa.Here are stupas gaunt with yearning,
ancient temples ruined by time,
streams that creep alone through the dark
past peeling statues that moan of Champa.Here are dense and drooping forests
where long processions, lost souls of Champa,
march; and evening spills through thick,
fragrant leaves, mingling with the cries of moorhens.Here is the field where two great armies
were reduced to a horde of clamoring souls.
Champa blood still cascades in streams of hatred
to grinding oceans filled with Champa bones.Here too are placid images: hamlets at rest
in evening sun, Champa girls gliding homeward,
their light chatter floating
with the pink and saffron of their dresses.Here are magnificent sunbaked palaces,
temples that blaze in cerulean skies.
Here battleships dream on the glossy river, while the thunder
of sacred elephants shakes the walls.Here, in opaque light sinking through lapis lazuli,
the Champa king and his men are lost in a maze of flesh
as dancers weave, wreathe, entranced,
their bodies harmonizing with the flutes.All this I saw on my way home years ago
and still I am obsessed,
my mind stunned, sagged with sorrow
for the race of Champa.”

Chế Lan Viên (1920–1989) Vietnamese writer

"On the Way Home", in A Thousand Years of Vietnamese Poetry, ed. Nguyễn Ngọc Bích (Alfred A. Knopf, 1975), p. 167; quoted in full in Buddhism & Zen in Vietnam by Thich Thien-an (Tuttle Publishing, 1992)

Cesare Pavese photo

“It is not the actual enjoyment of pleasure that we desire. What we want is to test the futility of that pleasure, so as to be no longer obsessed by it.”

Cesare Pavese (1908–1950) Italian poet, novelist, literary critic, and translator

This Business of Living (1935-1950)

Vincent Gallo photo
Hilary Duff photo

“I love the song ["Weird"] too. It is really weird when you listen to the beat and the words. It's about someone that she's still obsessed with. And everything he does is like he says this, but he does this. And he does this but he says this. It's all twisted around and backwards. She's not really sure who he is or what he does, but she likes it.”

Hilary Duff (1987) American actress and singer

"Hilary Duff comes clean" http://www.hilaryontheweb.com/news/2005/january/21012005_Hilary%20Duff%20comes%20clean.html. News Times. January 21 2005. Retrieved October 25 2006.
On "Weird", a song from Hilary Duff (2004).

Gregory Peck photo

“I liked movies so much that they became an obsession. I am still trying to kick the habit.”

Christoffer Boe (1974) Danish filmmaker

Quoted in Christoffer Boe: "I liked movies so much that they became an obsession. I am still trying to kick the habit," http://www.indiewire.com/article/park_city_06_christoffer_boe_i_liked_movies_so_much_that_they_became_an_obs/ interview with indieWIRE (January 11, 2006)

Gerhard Richter photo
Salvador Dalí photo
Patrick Stump photo
Beck photo
Jesús Huerta de Soto photo

“Nymphomaniac: a woman as obsessed with sex as an average man.”

Mignon McLaughlin (1913–1983) American journalist

The Complete Neurotic's Notebook (1981), Women & men

Victor Davis Hanson photo

“[O]ur top schools are obsessed with race, class, and gender but apparently not rigorous in cross-examining the fables and pop fads of their students.”

Victor Davis Hanson (1953) American military historian, essayist, university professor

2010s, The Deflation of the Academic Brand (2018)

Douglas Coupland photo
Sara Malakul Lane photo
Whittaker Chambers photo
Nicole Richie photo

“The hallmark of the minor artist is to be obsessed with style as an end in itself.”

Robert Hughes (1938–2012) Australian critic, historian, writer

"Alex Katz" (1986)
Nothing If Not Critical (1991)

Robert Kuttner photo
Anthony Burgess photo
Osbert Sitwell photo

“His long struggle with physical passion was almost over, and, as with many other great sensualists, its place had been taken by an obsession with death.”

Kenneth Clark (1903–1983) Art historian, broadcaster and museum director

Referring to Michelangelo
Source: The Nude: A Study in Ideal Form (1951), Ch. VI: Pathos

Glen Cook photo

“A teacher?”
“Yes. He argued that we are the gods, that we create our own destiny. That what we are determines what will become of us. In a peasantlike vernacular, we all paint ourselves into corners from which here is no escape simply by being ourselves and interacting with other selves.”
“Interesting.”
“Well. Yes. There is god of sorts, Croaker. Do you know? Not a mover and shaker, though. Simply a negator. An ender of tales. He has a hunger that cannot be sated. The universe itself will slide down his maw.”
“Death?”
“I do not want to die, Croaker. All that I am shrieks against the unrighteousness of death. All that I am, was, and probably will be, is shaped by my passion to evade the end of me.” She laughed quietly, but there was a thread of hysteria there. She gestured, indicating the shadowed killing ground below. “I would have built a world in which I was safe. And the cornerstone of my citadel would have been death.”
The end of the dream was drawing close. I could not imagine a world without me in it, either. And the inner me was outraged. Is outraged. I have no trouble imagining someone becoming obsessed with escaping death.
“I understand.”

“Maybe. We’re all equals at the dark gate, no? The sands run for us all. Life is but a flicker shouting into the jaws of eternity. But it seems so damned unfair!”
Source: The White Rose (1985), Chapter 39, “A Guest at Charm” (p. 625)

Violet Trefusis photo

“In each human being there is an emergency exit: that is, the cult of self under a multitude of manifestations, which means that when an obsession becomes too violent, you can escape, vanish with a snicker.”

Violet Trefusis (1894–1972) English writer and socialite

Author: Philippe Jullian, The other woman: A life of Violet Trefusis, including previously unpublished correspondence with Vita Sackville-West, published in (1976), pg.74

Joe Strummer photo
Jesse Ventura photo
Daniel Radcliffe photo
John Updike photo

“The refusal to rest content, the willingness to risk excess on behalf of one's obsessions, is what distinguishes artists from entertainers, and what makes some artists adventurers on behalf of us all.”

John Updike (1932–2009) American novelist, poet, short story writer, art critic, and literary critic

On J. D. Salinger, from a review of his Franny and Zooey, in Studies in J. D. Salinger : Reviews, Essays, and Critiques of The Catcher in the Rye and other Fiction (1963) edited by Marvin Laser and Norman Fruman, p. 231; also quoted in The Christian Science Monitor (August 26, 1965) and Updike's Assorted Prose (1965).

Cassandra Clare photo
Margaret Thatcher photo
John Cale photo

“I learn from thinking about the future, what hasn't been done yet. That's kind of my constant obsession.”

John Cale (1942) Welsh composer, singer-songwriter and record producer

Attributed without citation at John Cale Quotes, inspirationalstories.com, 16 November 2012 http://www.inspirationalstories.com/quotes/t/john-cale/,

Nick Lowe photo

“Even if I was really prolific — which I'm not — I think I'd always put at least a couple of covers on my record. I think it's a sort of healthy thing to do. It shows that you're not totally self-obsessed.”

Nick Lowe (1949) British singer

"Nick Lowe" interview with Noel Murray at the A.V. Club (27 June 2007) http://www.avclub.com/articles/nick-lowe,14119/

Colin Wilson photo
Tom Stoppard photo
Stephen Fry photo

“I should say today that it's tragic that people lose faith in what was once an honourable profession but people will lose faith in journalists. There's nothing one can do about it. People no longer trust journalists - we'll have to turn to politics instead for our belief in people. I almost mean that. Although, of course, anybody can talk about snouts in troughs and go on about it, for journalists to do so is almost beyond belief. Beyond belief. I know lots of journalists - I know more journalists than I know politicians - and I've never met a more venal and disgusting crowd of people when it comes to expenses and allowances… Not all [of them] but then not all human beings are either. I've cheated expenses. I've fiddled things. You have, of course you have. Let's not confuse what politicians get really wrong - things like wars, things where people die - with the rather tedious bourgeois obsession with whether or not they've charged for their wisteria. It's not that important, it really isn't. It isn't what we're fighting for. It isn't what voting is for and the idea that 'Oh, we've all lost faith in politics' [is] nonsense. It's a journalistic made-up frenzy. I know you don't want me to say that. You want me to say "No, it matters, it's important." It isn't it. Believe me, it isn't. It's not the big deal; it's not what we should be worrying about. I know no one's going to pay any attention and newspapers will great joy over filling yards and yards of newsprint with tiny, pointless details of this politician's or that politician's squalid and sad little life as they see it. It's not the big picture, it really isn't. You know, we get the politicians we deserve, it's our fault as much as anybody else's. This has been going on for years and suddenly because a journalist discovers it it's the biggest story ever! It's absolute nonsense, it really is.”

Stephen Fry (1957) English comedian, actor, writer, presenter, and activist

On the expenses scandal in the UK.
On Newsnight on the BBC Website http://news.bbc.co.uk/1/hi/programmes/newsnight/8045869.stm
2000s

Douglas Coupland photo
Greg Giraldo photo
Phyllis Schlafly photo
Susan Sontag photo

“The rational man may talk a good game about suicide, but reason must give way to obsession and finally squalor before he can actually do it.”

Wilfrid Sheed (1930–2011) English-American novelist and essayist

"A. Alvarez: The Savage God" (1972), p. 69
The Good Word & Other Words (1978)

Susan Sontag photo

“Since it is hardly likely that contemporary critics seriously mean to bar prose narratives that are unrealistic from the domain of literature, one suspects that a special standard is being applied to sexual themes. … There is nothing conclusive in the well-known fact that most men and women fall short of the sexual prowess that people in pornography are represented as enjoying; that the size of organs, number and duration of orgasms, variety and feasibility of sexual powers, and amount of sexual energy all seem grossly exaggerated. Yes, and the spaceships and the teeming planets depicted in science-fiction novels don’t exist either. The fact that the site of narrative is an ideal topos disqualifies neither pornography or science-fiction from being literature. … The materials of the pornographic books that count as literature are, precisely, one of the extreme forms of human consciousness. Undoubtedly, many people would agree that the sexually obsessed consciousness can, in principle, enter into literature as an art form. … But then they usually add a rider to the agreement which effectively nullifies it. They require that the author have the proper “distance” from his obsessions for their rendering to count as literature. Such a standard is sheer hypocrisy, revealing one again that the values commonly applied to pornography are, in the end, those belonging to psychiatry and social affairs rather than to art. (Since Christianity upped that ante and concentrated on sexual behavior as the root of virtue, everything pertaining to sex has been a “special case” in our culture, evoking particularly inconsistent attitudes.) Van Gogh’s paintings retain their status as art even if it seems his manner of painting owed less to a conscious choice of representational means than to his being deranged and actually seeing reality the way he painted it. … What makes a work of pornography part of the history of art rather than of trash is not distance, the superimposition of a consciousness more conformable to that of ordinary reality upon the “deranged consciousness” of the erotically obsessed. Rather, it is the originality, thoroughness, authenticity, and power of that deranged consciousness itself, as incarnated in a work.”

“The Pornographic Imagination,” pp. 45-47
Styles of Radical Will (1966)

“Everything I've been through, twenty–nine years strung out on dope, the hard time in prison, and an endless obsession with romantic entanglements——were parts of a journey that I'm just now beginning to understand.”

[Little, Brown and Company, 978-0-316-73009-9, Neville, Art, Neville, Aaron, Neville, Charles, Neville, Cyril, Ritz, David, The Brothers Neville, Boston, 2000, xii–xiii]

Zbigniew Brzeziński photo
Klaus Kinski photo
Alan Hirsch photo

“The safety-obsessed church lacks the inner dynamic to foster profound missional impact in our time.”

Alan Hirsch (1959) South African missionary

Source: The Faith of Leap (2011), p. 58

Molly Shannon photo
Aldo Leopold photo
Peter Greenaway photo
David Myatt photo

“For nearly four decades I placed some ideation, some ideal, some abstraction, before personal love, foolishly - inhumanly - believing that some cause, some goal, some ideology, was the most important thing and therefore that, in the interests of achieving that cause, that goal, implementing that ideology, one's own personal life, one's feelings, and those of others, should and must come at least second if not further down in some lifeless manufactured schemata. My pursuit of such things - often by violent means and by incitement to violence and to disaffection - led, of course, not only to me being the cause of suffering to other human beings I did not personally know but also to being the cause of suffering to people I did know; to family, to friends, and especially to those - wives, partners, lovers - who for some reason loved me. In effect I was selfish, obsessed, a fanatic, an extremist. Naturally, as extremists always do, I made excuses - to others, to myself - for my unfeeling, suffering-causing, intolerant, violent, behaviour and actions; always believing that 'I could make a difference' and always blaming some-thing else, or someone else, for the problems I alleged existed 'in the world' and which problems I claimed, I felt, I believed, needed to be sorted out […] Yet the honest, the obvious, truth was that I - and people like me or those who supported, followed, or were incited, inspired, by people like me - were and are the problem.”

David Myatt (1950) British writer

Source: Letter To My Undiscovered Self (2012) http://www.davidmyatt.info/letter-to-self.html

Ursula K. Le Guin photo
Arthur Schopenhauer photo

“University professors, restricted in this way, are quite happy about the matter, for their real concern is to earn with credit an honest livelihood for themselves and also for their wives and children and moreover to enjoy a certain prestige in the eyes of the public. On the other hand, the deeply stirred mind of the real philosopher, whose whole concern is to look for the key to our existence, as mysterious as it is precarious, is regarded by them as something mythological, if indeed the man so affected does not even appear to them to be obsessed by a monomania, should he ever be met with among them. For that a man could really be in dead earnest about philosophy does not as a rule occur to anyone, least of all to a lecturer thereon; just as the most sceptical Christian is usually the Pope. It has, therefore, been one of the rarest events for a genuine philosopher to be at the same time a lecturer in philosophy.”

Inzwischen bleiben die solchermaaßen beschränkten Universitätsphilosophie bei der Sache ganz wohlgemuth; weil ihr eigentlicher Ernst darin liegt, mit Ehren ein redliches Auskommen für sich, nebst Weib und Kind, zu erwerben, auch ein gewisses Ansehn vor den Leuten zu genießen; hingegen das tiefbewegte Gemüth eines wirklichen Philosophen, dessen ganzer und großer Ernst im Aufsuchen eines Schlüssels zu unserm, so rätselhaften wie mißlichen Daseyn liegt, von ihnen zu den mythologischen Wesen gezählt wird; wenn nicht etwa» gar der damit Behaftete, sollte er ihnen je vorkommen, ihnen als von Monomanie besessen erscheint. Denn daß es mit der Philosophie so recht eigentlicher, bitterer Ernst seyn könne, läßt wohl, in der Regel, kein Mensch sich weniger träumen, als ein Docent derselben; gleichwie der ungläubigste Christ der Papst zu seyn pflegt. Daher gehört es denn auch zu den seltensten Fällen, daß ein wirklicher Philosoph zugleich ein Docent der Philosophie gewesen wäre.
Sämtliche Werke, Bd. 5, p. 153, E. Payne, trans. (1974) Vol. 1, p. 141
Parerga and Paralipomena (1851), On Philosophy in the Universities

John Banville photo
Enoch Powell photo
Damian Pettigrew photo
Wassily Kandinsky photo

“If until now colour and form were used as inner agents, it was mainly done subconsciously. The subordination of composition to geometrical form is no new idea (cf. the art of the Persians). Construction on a purely spiritual basis is a slow business, and at first seemingly blind and unmethodical. The artist must train not only his eye but also his soul, so that it can weigh colours in its own scale and thus become a determinant in artistic creation. If we begin at once to break the bonds that bind us to nature and to devote ourselves purely to combination of pure colour and independent form, we shall produce works that are mere geometric decoration, resembling something like a necktie or a carpet. Beauty of form and colour is no sufficient aim by itself, despite the assertions of pure aesthetes or even of naturalists obsessed with the idea of "beauty". It is because our painting is still at an elementary stage that we are so little able to be moved by wholly autonomous colour and form composition. The nerve vibrations are there (as we feel when confronted by applied art), but they get no farther than the nerves because the corresponding vibrations of the spirit which they call forth are weak. When we remember however, that spiritual experience is quickening, that positive science, the firmest basis of human thought is tottering, that dissolution of matter is imminent, we have reason to hope that the hour of pure composition is not far away. The first stage has arrived.”

Wassily Kandinsky (1866–1944) Russian painter

Quote from Concerning the Spiritual in Art, Wassily Kandinsky, Munich, 1912; as cited in Kandinsky, Frank Whitford, Paul Hamlyn Ltd, London 1967, p. 15
1910 - 1915

Pat Condell photo
Robert Smith (musician) photo
Andrei Sakharov photo
Keshia Chante photo
Thomas Piketty photo
André Maurois photo
Suze Robertson photo

“What a struggle I had to make on that ['Mother and Child']. You would say, a nice assignment to make something good out of it, isn't it. I myself thought it that way. So I went to Heeze, I made a mass of studies of women with children, came back with the sketches to my studio... Oh, what an obsession..”

Suze Robertson (1855–1922) Dutch painter

(version in original Dutch / origineel citaat van Suze Robertson:) Wat heb ik dáár op getobd ['Moeder en Kind']. Ge zoudt zeggen, niet waar: 'n opgaaf [opdracht] om best iets goed van te maken. Dat dacht ik ook. 'k ging dus naar nl:Heeze, maakte er massa's studies van vrouwen met kinderen, kwam daarmee op m'n atelier terug.. .Maar wat een obsessie..
Source: 1900 - 1922, Onder de Menschen: Suze Robertson' (1912), p. 34

Colin Wilson photo
Marlene Dietrich photo

“Sex: In America an obsession. In other parts of the world a fact.”

Marlene Dietrich (1901–1992) German-American actress and singer

Marlene Dietrich's ABC https://books.google.com/books?id=u7x5UYHMs0IC&pg=PT158#v=snippet&q=sex%20in%20amaerica&f=false (1962)

Frank Gehry photo
Marcus du Sautoy photo
Lee Kuan Yew photo

“I have never been over concerned or obsessed with opinion polls or popularity polls. I think a leader who is, is a weak leader. Between being loved and being feared, I have always believed Machiavelli was right. If nobody is afraid of me, I’m meaningless.”

Lee Kuan Yew (1923–2015) First Prime Minister of Singapore

The Singapore Story: Memoirs of Lee Kuan Yew, 1998, as quoted by http://articles.businessinsider.com/2011-05-24/tech/30081331_1_singaporean-lee-kuan-yew-political-landscape
1990s

Klaus Kinski photo
Winston S. Churchill photo
Stephen L. Carter photo
Stephen Baxter photo
Amanda Lear photo

“In Italy I'm big because they're all so sex-obsessed. In Germany I succeeded because they've been waiting for someone like Marlene Dietrich to come along ever since the war. I played on their need for a drunken, nightclubbing vamp. And I've won the gays, who are crucial because they have all the best discos, entirely because of the extraordinary legends about me.”

Amanda Lear (1939) singer, lyricist, composer, painter, television presenter, actress, model

https://www.theguardian.com/theobserver/2000/dec/24/focus.news, The bizarre career of Amanda Lear (At the court of Queen Lear), Andrew Anthony, 24 December 2000, The Observer, www.guardian.co.uk, 6 June 2010

L. Ron Hubbard photo
Cyril Connolly photo
Nigel Cumberland photo

“Success requires a focused attention of your time and energy. This is true no matter what you want to achieve – to change the world or simply change apartments. All success stories come down to one person having a focused aim – so focused at times it can look like an obsession.”

Nigel Cumberland (1967) British author and leadership coach

Your Job-Hunt Ltd – Advice from an Award-Winning Asian Headhunter (2003), Successful Recruitment in a Week (2012) https://books.google.ae/books?idp24GkAsgjGEC&printsecfrontcover&dqnigel+cumberland&hlen&saX&ved0ahUKEwjF75Xw0IHNAhULLcAKHazACBMQ6AEIGjAA#vonepage&qnigel%20cumberland&ffalse, 100 Things Successful People Do: Little Exercises for Successful Living (2016) https://books.google.ae/books?idnu0lCwAAQBAJ&dqnigel+cumberland&hlen&saX&ved0ahUKEwjF75Xw0IHNAhULLcAKHazACBMQ6AEIMjAE

Al Gore photo
Alfredo Di Stéfano photo

“People nowadays are obsessed with golden awards, about who is the best — when we know in reality the one with more money wins.”

Alfredo Di Stéfano (1926–2014) Argentine association football player

The Guardian interview (2008)