Quotes about skyscraper

A collection of quotes on the topic of skyscraper, likeness, life, city.

Quotes about skyscraper

“I feel like flying when I take my drone out into the desert or over the tall skyscrapers in the UAE (Dubai) to capture beautiful imagery.”

NasserTone (1994) Nasser Ali Albahrani is a director, cinematographer, photographer, producer, & YouTuber, who was born on April 3…

Vice Magazine Article (July 18, 2018)

Beauty, Feeling, Flying

“The people are starving. They need food; they need medicine; they need education. They do not need a skyscraper to house the ruling party and a 24-hour TV station.”

Wangari Maathai (1940–2011) Kenyan environmental and political activist

On her opposition to the construction of a skyscraper in Nairobi, Kenya, as quoted in the article Wangari Maathai:"You Strike The Woman ..." by Priscilla Sears in the quarterly In Context #28 (Spring 1991)

People, Education, Food, Housing

“Tonight, we gather to affirm the greatness of our nation—not because of the height of our skyscrapers, or the power of our military, or the size of our economy. Our pride is based on a very simple premise, summed up in a declaration made over two hundred years ago: "We hold these truths to be self-evident, that all men are created equal, that they are endowed by their Creator with certain inalienable rights, that among these are life, liberty and the pursuit of happiness."”

Barack Obama (1961) 44th President of the United States of America

That is the true genius of America—a faith in simple dreams, an insistence on small miracles.
2004, Democratic National Convention speech (July 2004)

Life, Men, Truth, Faith

“By night the skyscraper looms in the smoke and the stars and has a soul.”

Carl Sandburg (1878–1967) American writer and editor

Soul, Star, Night

“He stepped to the window and pointed to the skyscrapers of the city. He said that we had to extinguish the lights of the world, and when we would see the lights of New York go out, we would know that our job was done.”

Ayn Rand book Atlas Shrugged

The Fountainhead (1943).
Source: Atlas Shrugged
Context: That particular sense of sacred rapture men say they experience in contemplating nature- I've never received it from nature, only from. Buildings, Skyscrapers. I would give the greatest sunset in the world for one sight of New York's skyline. The shapes and the thought that made them. The sky over New York and the will of man made visible. What other religion do we need? And then people tell me about pilgrimages to some dank pest-hole in a jungle where they go to do homage to a crumbling temple, to a leering stone monster with a pot belly, created by some leprous savage. Is it beauty and genius they want to see? Do they seek a sense of the sublime? Let them come to New York, stand on the shore of the Hudson, look and kneel. When I see the city from my window - no, I don't feel how small I am - but I feel that if a war came to threaten this, I would like to throw myself into space, over the city, and protect these buildings with my body.

World, Light

“Everything that's born has to die, which means our lives are like skyscrapers. The smoke rises at different speeds, but they're all on fire, and we're all trapped.”

Jonathan Safran Foer book Extremely Loud and Incredibly Close

Source: Extremely Loud and Incredibly Close

Speed

“Solidarity is not a matter of sentiment but a fact, cold and impassive as the granite foundations of a skyscraper. If the basic elements, identity of interest, clarity of vision, honesty of intent, and oneness of purpose, or any of these is lacking, all sentimental pleas for solidarity, and all other efforts to achieve it will be barren of results.”

Eugene V. Debs (1855–1926) American labor and political leader

"A Plea for Solidarity," The International Socialist Review VOL XIV No. 9 (March 1914) https://books.google.com/books?id=olFIAAAAYAAJ&lpg=PA534&ots=GTTSOWeGxG&dq=eugene%20v.%20debs%20%22a%20plea%20for%20solidarity&pg=PA534#v=onepage&q&f=false

Effort

“Many nights I stood on the bridge — and in the middle alone — lost — a defenseless prey to the surrounding swarming darkness — crushed by the mountainous black impenetrability of the skyscrapers — here and there lights resembling suspended falls of astral bodies or fantastic splendors of remote rites — shaken by the underground tumult of the trains in perpetual motion, like blood in the arteries—at times, ringing as alarm in a tempest, the shrill sulphurous voice of the trolley wires — now and then strange moanings of appeal from tugboats, guessed more than seen, through the infernal recesses below — I felt deeply moved, as if on the threshold of a new religion or in the presence of a new DIVINITY.”

Joseph Stella (1877–1946) American artist

Source: "The Brooklyn Bridge (A page of my life)," 1929, p. 88; Cited in: Beth Venn, Adam D. Weinberg. Frames of Reference: Looking at American Art, 1900-1950 : Works from the Whitney Museum of American Art. University of California Press, 1999. p. 123

Religion, Mountain, Light, Time

“And I say to you this morning in conclusion that I'm not going to put my ultimate faith in things. I'm not going to put my ultimate faith in gadgets and contrivances. As a young man with most of my life ahead of me, I decided early to give my life to something eternal and absolute. Not to these little gods that are here today and gone tomorrow, but to God who is the same yesterday, today, and forever. Not in the little gods that can be with us in a few moments of prosperity, but in the God who walks with us through the valley of the shadow of death, and causes us to fear no evil. That's the God. Not in the god that can give us a few Cadillac cars and Buick convertibles, as nice as they are, that are in style today and out of style three years from now, but the God who threw up the stars to bedeck the heavens like swinging lanterns of eternity. Not in the god that can throw up a few skyscraping buildings, but the God who threw up the gigantic mountains, kissing the sky, as if to bathe their peaks in the lofty blues. Not in the god that can give us a few televisions and radios, but the God who threw up that great cosmic light that gets up early in the morning in the eastern horizon, (who paints its technicolor across the blue—something that man could never make. I'm not going to put my ultimate faith in the little gods that can be destroyed in an atomic age, but the God who has been our help in ages past, and our hope for years to come, and our shelter in the time of storm, and our eternal home. That's the God that I'm putting my ultimate faith in.”

Martin Luther King, Jr. (1929–1968) American clergyman, activist, and leader in the American Civil Rights Movement

1950s, Rediscovering Lost Values (1954)

Life, Death, God, Age

“It is clearly absurd to say that if you go on adding atoms together until they have fused into a complex molecule, that molecule will become capable of self-reproduction. It is like saying that a skyscraper is more capable of reproduction than a bungalow. And suppose life did come into being through some accidental interaction of molecules, sun and cosmic rays; why should it not be content to rest passively? Why should it have been possessed of a desire to persist and evolve?”

Colin Wilson (1931–2013) author

Source: Starseekers (1980), p. 259

Life, Sun

“Did I miss the skyscrapers, did I miss the long freeway?
From the coast of California to the shores of The Delaware Bay
You can bet your life I did, till I got back in the U. S. A.”

Chuck Berry (1926–2017) American rock-and-roll musician

"Back in the U.S.A." (1959)
Song lyrics

Life

“[A balanced economic system is one which provides] sufficiency for all and superfluity for some. The MNCs have entered the country like nomads. The majority doesn't need Pepsi or Coke, they want water. You can have your skyscrapers and Cokes but before this you must ensure that that tribal girl defecating in the open has the privacy of a toilet.”

Baba Amte (1914–2008) Indian freedom fighter, social worker

After 50 years what democracy is this?

Girl, Water, Country

“It's in the action scenes that things fall apart. Consider the scene where Spider-Man is given a cruel choice between saving Mary Jane or a cable car full of school kids. He tries to save both, so that everyone dangles from webbing that seems about to pull loose. The visuals here could have given an impression of the enormous weights and tensions involved, but instead the scene seems more like a bloodless storyboard of the idea. In other CGI scenes, Spidey swoops from great heights to street level and soars back up among the skyscrapers again with such dizzying speed that it seems less like a stunt than like a fast-forward version of a stunt.”

Roger Ebert (1942–2013) American film critic, author, journalist, and TV presenter

Review http://www.rogerebert.com/reviews/spider-man-2002 of Spider-Man (3 May 2002) <br class="br">Reviews, Two-and-a-half star reviews

School, Cars, Idea, Speed

“There is imagery. Symbolism is a difficult idea. I'm not a symbolist. In other words, these are painting experiences. I don't decide in advance that am going to paint a definite experience, but in the act of painting, it becomes a genuine experience for me. It's not symbolism any more than it's calligraphy. I'm not painting bridge constructions, skyscrapers or laundry tickets.... I don't paint a given object – a figure or a table; I paint an organization that becomes a painting.... it's not these things that get me started on a painting.”

Franz Kline (1910–1962) American painter

1958
1960's, Talks with Seventeen Artists, 1962

Idea, Painting

“I relish the fact that we New Yorkers talk funny, and that art deco skyscrapers symbolize our city. […] But we must set boundaries to this love of variety. I accept the need, even the blessings, of standardization in practical matters: we require a worldwide telephone dialing system and a network of national highways […]. We need domains of standardization, and realms of regionalism, each in its appropriate place, and linked in mutual respect and recognition. I accept and even want McDonalds at the highway interchange—but not in my little neighborhood of ethnic restaurants, and not next to the Corn Palace in Mitchell, South Dakota.”

Stephen Jay Gould (1941–2002) American evolutionary biologist

"Baseball : Joys and Lamentations", p. 309; originally published in The New York Review of Books (1993-11-04)
Triumph and Tragedy in Mudville (2003)

Love, Art

“I found America the friendliest, most forgiving, and most generous nation I had ever visited. We South Americans tend to think of things in terms of convenience, whereas people in the United States approach things ethically. This — amateur Protestant that I am — I admired above all. It even helped me overlook skyscrapers, paper bags, television, plastics, and the unholy jungle of gadgets.”

Jorge Luis Borges (1899–1986) Argentine short-story writer, essayist, poet and translator, and a key figure in Spanish language literature

Autobiographical Notes (1970)

People, Forgiveness, Thinking, Help

“Manhattan. Sometimes from beyond the skyscrapers, across of thousands of high walls, the cry of a tugboat finds you in your insomnia in the middle of the night, and you remember that this desert of iron and cement is an island.”

Albert Camus (1913–1960) French author and journalist

American Journals (1978)

Cry, Night

“Pursuit of happiness, unalienable pursuit… right to life liberty and… A black moonless night; Jimmy Herf is walking alone up South Street. Behind the wharfhouses ships raise shadowy skeletons against the night. "By Jesus I admit I'm stumped," he says aloud. All these April nights combing the streets alone a skyscraper has obsessed him, a grooved building jutting up with uncountable bright windows falling onto him out of a scudding sky. Typewriters rain continual nickelplated confetti in his ears.”

John Dos Passos book Manhattan Transfer

Source: Manhattan Transfer (1925), p. 365

Life, Night, Happiness

“Go out and be assured that that God is going to last forever. Storms might come and go. Our great skyscraping buildings will come and go. Our beautiful automobiles will come and go, but God will be here. Plants may wither, the flowers may fade away, but the word of our God shall stand forever and nothing can ever stop him. All of the P-38s in the world can never reach God. All of our atomic bombs can never reach him. The God that I'm talking about this morning is the God of the universe and the God that will last through the ages. If we are to go forward this morning, we've got to go back and find that God. That is the God that demands and commands our ultimate allegiance.”

Martin Luther King, Jr. (1929–1968) American clergyman, activist, and leader in the American Civil Rights Movement

1950s, Rediscovering Lost Values (1954)

God, Age, World, Beauty

“But the projects with which the architects of Russian proletarian architecture present us are not only based on pure imagination, but their construction would, if they were fitted for realization, entail enormous waste of space and materials. The dwelling complex 'Wolkenbügel' [architecture, designed by Lissitzky, with the help of [ w:Emil Roth - Swiss architect, 1924] (assuming that one could live here without either freezing or melting!), shaped like a 4, stands in a very un-constructive way on three legs in which the elevators are located. The latter take up as much space as would one or more skyscrapers. And these 'architects' are to teach the West what architecture is!”

Theo van Doesburg (1883–1931) Dutch architect, painter, draughtsman and writer

Quote of Theo van Doesburg, in Architecture and revolution — Revolutionary architecture? Utopian designs by Tatlin, Lissitzky, and others, Theo van Doesburg, in 'Het Bouwbedrijf' (1928)
1926 – 1931

Way, Imagination, Help

“In all these products, whether iron bridges, locomotives, automobiles, telescopes, cottages, airport-hangars, funicular railways, skyscrapers, or children's toys, the will towards a new style expresses itself. The similarity of these examples to the new creations in art consists in the same striving for clear, pure form which expresses truth in the objects.”

Theo van Doesburg (1883–1931) Dutch architect, painter, draughtsman and writer

Quote from 'The will to Style', in Dutch art-magazine De Stijl February-March 1922; as quoted in 'Theo van Doesburg', Joost Baljeu, Studio Vista, London 1974, p. 123
1920 – 1926

Children, Truth, Art

“Richard Wright, an American novelist of the realist school, asks a famous unfathomable question in his best-known novel, Native Son. Who knows when some slight shock, he asks, disturbing the delicate balance between social order and thirsty aspiration, shall send the skyscrapers in our cities toppling?”

Daniel Handler book The Penultimate Peril

Lemony Snicket (351-352)
The Penultimate Peril (2005)

School, Question

“Hardly is there anywhere in the United States a church possessing originality which has been built after 1840. The houses of God are usually misplaced gothic or romanesque imitations squeezed in between dismal railway stations or surging skyscrapers. It is even more shocking to see the abortive efforts of town planning, or the utopian habit of naming streets after mere numbers or letters. A cultured man cannot possibly live in room 6489 on the sixty-fourth floor of a house on the corner of 109th Street and 10th Avenue. This may be fitting for one of the unfortunate creatures in Huxley's Brave New World but not for man created in the image of God.”

Erik von Kuehnelt-Leddihn (1909–1999) Austrian noble and political theorist

Pgs 268-269
The Menace of the Herd (1943)

God, World, Effort, Housing

“You can see the roughness of structure and the spots like wounds from battles on the canvas. The tops of skyscrapers with windows like eyes constantly remind you that there are laws surrounding the wastelands, and so you hide in the deep grass when you make love to a girl in dirty clothes, and experience how your nerves of seeing become stronger and stronger and every little sound more and more intense. That's what Pasolini's poetry is partly about; he was a street guy and therefore I avoided beautiful new wood or metal for his sculpture... The wasteland was Pasolini's other side; the boys, the knives, the nights, the tensions.”

Karel Appel (1921–2006) Dutch painter, sculptor, and poet

Appel is referring to the Italian movie-maker Pasolini
Source: Karel Appel – the complete sculptures,' (1990), pp. 75-77 'Quotes', K. Appel (1989)

Love, Making love, Law, Beauty

“Surely that little pseudo-gothic church on Broadway, hidden amongst the skyscrapers, is symbolic of the age! On the whole face of the globe the civilization that has conquered it has failed to build a temple or a tomb.”

André Malraux (1901–1976) French novelist, art theorist and politician

Part IV, Chapter I
Les voix du silence [Voices of Silence] (1951)

Age

“Centralization of society's vital services in giant computer centers, reservoirs, nuclear power plants, air- traffic control centers, 100-story skyscrapers, and government compounds increases its vulnerability. … choosing his targets, today's saboteur could pollute a city's water supply, dynamite power transmission towers, cripple an airport control center, destroy a corporate or government computer center.”

Anatol Rapoport (1911–2007) Russian-born American mathematical psychologist

Anatol Rapoport, as quoted in: Gerald McKnight (1973) Computer crime, p. 203
1970s and later

Water

“Like it or not, the modern marvel that was South Africa—with its space program and skyscrapers—was not the handiwork of the black nationalist movement now dismantling it; but the creation of those persecuted, pale, patriarchal Protestants.”

Ilana Mercer South African writer

"Erasing The Afrikaner Nation," http://www.ilanamercer.com/phprunner/public_article_list_view.php?editid1=58 WorldNetDaily.com, November 23, 2007. <br class="br">2000s, 2007

“And he walks round blocks and blocks looking for the door of the humming tinsel windowed skyscraper, round blocks and blocks and still no door. Every time he closes his eyes the dream has hold of him, every time he stops arguing audibly with himself in pompous reasonable phrases the dream has hold of him. Young man to save your sanity you've got to do one of two things… Please mister where's the door to the building? Round the block? Just round the block… one of two unalienable alternatives: go away in a dirty soft shirt or stay in a clean Arrow collar. But what's the use of spending your whole life fleeing the City of Destruction? What about your unalienable right, Thirteen Provinces? His mind unreeling phrases, he walks on doggedly. There's nowhere in particular he wants to go. If only I still had faith in words.”

John Dos Passos book Manhattan Transfer

Source: Manhattan Transfer (1925), pp. 365-366

Life, Faith, Dreams, Time

“Into this neutral air
Where blind skyscrapers use
Their full height to proclaim
The strength of Collective Man,
Each language pours its vain
Competitive excuse.”

W. H. Auden September 1, 1939

Source: September 1, 1939 (1939), Lines 34–39

“The confusion of spirit and body is quite understandable in a culture where spirit is concretized in magnificent skyscrapers, where cathedrals have become museums for tourists, where woman-flesh-devil are associated, and nature is raped for any deplorable excuse. […] Dieting with fierce will-power is the masculine route; dieting with love of her own nature is the feminine. Her only real hope is to care for her own body and experience it as the vessel through which her Self may be born.”

Marion Woodman (1928–2018) Canadian writer

Source: The Owl Was a Baker's Daughter (1980), p. 100

Love, Hope, Understanding, Nature

“On a favourite way to spend a day in Scotland: One of Scotland's great experiences is sailing into Tobermoray after a week long cruise down the western isles. It is a bit like sailing into Manhatten on the QEII and seeing all the skyscrapers but after Stornoway, Skalpy Harris and Barra, Tobermoray is more impressive.”

Ivor Tiefenbrun (1946) Scottish businessman

cited by Luxury Scotland http://www.luxuryscotland.co.uk/about/about_5minute_ivor.html. <br class="br">1997

Way

“It's a giant factory-state here, a City of the Future full of extrapolated 1930's swoop-facaded and balconied skyscrapers, lean chrome caryatids with bobbed hairdos, classy airships of all descriptions drifting in the boom and hush of the city abysses, golden lovelies sunning in roof gardens and turning to wave as you pass.”

Thomas Pynchon book Gravity's Rainbow

Gravity's Rainbow (1973)

Love, Sun, Future

“As Oliver Cromwell said to the General Assembly of the Church of Scotland, "I beseech you, in the bowels of Christ, think it possible that you might be mistaken." Life and the affairs of the living are so tangled, the world not only stranger than we imagine but stranger than we can imagine, that all questions are conundrums, no answers "correct." Is it certain that parallel lines never meet? No. Does water freeze at 32 degrees Fahrenheit? Only probably. Shall I marry? Who can say? And yet the world's work must be done. One Oblomov is enough. Thus we learn a conventional certitude, acting as though all were light by blinking the shadow. A simple proof demonstrates that parallel lines do meet, but, on the assumption that they do not, the architect builds the skyscraper. Despite his knowledge of statistical mechanics, the engineer designs the refrigerator to maintain a constant temperature of 31 degrees. Le cœur a ses raisons que la raison ne connait pas [the heart has its reasons that reason does not know], and families are raised.”

Irving Younger (1932–1988) American lawyer

Some of My Life

Life, World, Family, Imagination

“It may be that the Greeks had it easy, with their light and their mountains and their plains and their islands waiting around for tourists. It was easy for them to believe that man fit in rather well. This fittingness may have given them the idea that we are seemlier than other evidence suggests. The heads of Rameses II at Abu Simbel and, for that matter, the skyscrapers of New York, have another idea of man. So do the artifacts of Albert Speer. It is depressing to wonder whether the Greeks just happened to be lucky, and the dream they left us is a lie about ourselves.”

John Leonard (1939–2008) American critic, writer, and commentator

"The Caryatid" (p. 208)
Private Lives in the Imperial City (1979)

Lie, Dreams, Mountain, Idea

“I was thrilled to find America so rich with so many new motives to be translated into a new art. Steel and electricity had created a new world. A new drama had surged from the unmerciful violation of darkness at night, by the violent blaze of electricity and a new polyphony was ringing all around with the scintillating, highly colored lights. The steel had leaped to hyperbolic altitudes and expanded to vast latitudes with the skyscrapers and with bridges made for the conjunction of worlds. A new architecture was created, a new perspective.”

Joseph Stella (1877–1946) American artist

Joseph Stella (1912); As cited in: Metropolitan Museum of Art (1965) American Painting in the Twentieth Century. p. 69

World, Art, Color, Motivation

“Peace is not so much a political mandate as it is a shared state of consciousness that remains elevated and intact only to the degree that those who value it volunteer their existence as living examples of the same. It does not end when jetliners are used as bombs to decimate skyscrapers, nor does it end when a father shoots to death his adolescent son and daughter. Peace ends with the unraveling of individual hope and the emergence of the will to worship violence as a healer of private and social dis-ease. It is, after all, not only nations and communities that need peace so desperately but individuals divided against other individuals and within themselves.”

Aberjhani (1957) author

(p. 257, The American Poet Who Went Home Again).
Book Sources, The American Poet Who Went Home Again (2008)

Death, Peace, Hope, Communication

“Basic Instinct 2 is not good in any rational or defensible way, but not bad in irrational and indefensible ways. I savored the icy abstraction of the modern architecture, which made the people look like they came with the building. I grinned at that absurd phallic skyscraper that really does exist in London. I liked the recklessness of the sex-and-speed sequence that opens the movie (and, curiously, looks to have been shot in Chicago). I could appreciate the plot once I accepted that it was simply jerking my chain. You can wallow in it … Footnote No. 2: My 1-1/2-star rating is like a cold shower, designed to take my mind away from giving it four stars.”

Roger Ebert (1942–2013) American film critic, author, journalist, and TV presenter

Review http://www.rogerebert.com/reviews/basic-instinct-2-2006 of Basic Instinct 2 (31 March 2006) <br class="br">Reviews, One-and-a-half star reviews

People, Sex, Jerk, Way

“The city itself swung slowly toward us silent as a dream. No sign of life but puffs of steam from skyscraper chimneys, the motion of the traffic. The mighty towers stood like tombstones in a graveyard, leaning against the sky and waiting for -- for what? Someday we'll know.”

Edward Abbey (1927–1989) American author and essayist

"Manhattan Twilight, Hoboken Night", p. 98
The Journey Home (1977)

Life, Dreams, Waiting

“Through all these researches into an art that would lead to immaterialisation, Werner Ruhnau [German architect] and I came together in the architecture of the air. He was hindered by the last obstacle that even a w:Mies van der Rohe [also a German architect, famous for his reflecting glass skyscrapers in the U. S. ] hadn’t been able to overcome: the roof, the screen that separates us from the sky, from the blue sky. And I was hindered by the screen that the tangible blue on the canvas constitutes, which deprives man of a constant vision of the horizon.”

Yves Klein (1928–1962) French artist

In 1958; p. 45
before 1960, "Yves Klein, 1928 – 1962, Selected Writings"

Art

“Manhattan is not altogether felicitous for fiction. It is not a city of memory, not a family city, not the capital of America so much as the iconic capital of this century. It is grand and grandiose with its two rivers acting as a border to contain the restless. Its skyscrapers and bleak, rotting tenements are a gift for photographic consumption, but for the fictional imagination the city's inchoate density is a special challenge.”

Elizabeth Hardwick (1916–2007) Novelist, short story writer, literary critic

"Locations: An Introduction" (p. xvi)
American Fictions (1999)

Family, Imagination, Memory

“Art deals with profound and simple moods.... Let us suppose that the artist – in this instance [the artist] Picabia – gets a certain impression by looking at our skyscrapers, our city, our way of life, and that he tries to reproduce it.... he will convey it in plastic ways on the canvas, even though we see neither skyscrapers nor city on it.”

Filippo Tommaso Marinetti (1876–1944) Italian poet and editor, founder of the Futurist movement

quote from an interview in 'A Paris painter', H. Hapgood; in 'Globe and commercial Advertiser', 20 February 1913, p. 8 / 10
1910's

Life, Art, Way, Mood

“A skyscraper is at the same time a triumph of the machine and a tremendous emotional experience, almost breath-taking. Not merely its height but its mass and proportions are the result of an emotion, as well as of calculation.”

George Gershwin (1898–1937) American composer and pianist

Page 387
The Composer in the Machine Age (1933)

Time

“When we arrived at New York I went, straight after clearing customs, to the Algonquin Hotel. I would not claim as of right a room in my own flat, since Hortense must now regard it as hers. After a couple of whisky sours in the Blue Bar I walked up Fifth Avenue. The September heat was intense and the air was all woollen shirts aboil. The town was full of jumbo steaks and ice cream, the shops pleaded that we buy useless gadgets. This was not Europe. This was very far from being Europe. Victory in Europe and Asia confirmed the excellence of the American way of life. Strong appetite and inviolable health. The afternoon sun was higher here than in any town of Europe, forced upwards by the skyscrapers. The place was rife with life.”

Anthony Burgess (1917–1993) English writer

Fiction, Earthly Powers (1980)

Life, Health, Way, Strong

“Repeatedly I took stabs at writing, but the results were so poor that I would tear up the sheets. I was striving for a level of expression that matched those of the novels I read. But I always somehow failed to get onto the page what I thought and felt. Failing at sustained narrative, I compromised by playing with single sentences and phrases. Under the influence of Stein’s Three Lives, I spent hours and days pounding out disconnected sentences for the sheer love of words. I would write: “The soft melting hunk of butter trickled in gold down the stringy grooves of the split yam.” Or: “The child’s clumsy fingers fumbled in sleep, feeling vainly for the wish of its dream.” “The old man huddled in the dark doorway, his bony face lit by the burning yellow in the windows of distant skyscrapers.” My purpose was to capture a physical state or movement that carried a strong subjective impression, an accomplishment which seemed supremely worth struggling for. If I could fasten the mind of the reader upon words so firmly that he would forget words and be conscious only of his response, I felt that I would be in sight of knowing how to write narrative. I strove to master words, to make them disappear, to make them important by making them new, to make them melt into a rising spiral of emotional stimuli, each greater than the other, each feeding and reinforcing the other, and all ending in an emotional climax that would drench the reader with a sense of a new world. That was the single aim of my living.”

Richard Wright book Black Boy

Black Boy (1945)

Love, World, Dreams, Feeling

“If we can find the money - in other words, the raw materials and the men to do the work - to build skyscrapers and luxurious bank buildings in our large cities, if we can afford to maintain an elaborate defence establishment, if we can cope with the social costs that flow from life on the "other side of the tracks," we can well afford the expenditure of public money in programs designed to eliminate every last slum dwelling there is in this country, in programs designed to redevelop our communities, both urban and rural, toward the day when all our people will live in good homes.”

Stanley Knowles (1908–1997) Canadian politician

Source: The New Party - (1961), Chapter 5, O Canada, p. 55-56
Context: Yet another means by which to distribute more equally the wealth our people create is by an all-out program in the building of homes. Where did we ever get the idea that it is all right for some Canadian children to grow up in slums and others in mansions? If we can find the money - in other words, the raw materials and the men to do the work - to build skyscrapers and luxurious bank buildings in our large cities, if we can afford to maintain an elaborate defence establishment, if we can cope with the social costs that flow from life on the "other side of the tracks," we can well afford the expenditure of public money in programs designed to eliminate every last slum dwelling there is in this country, in programs designed to redevelop our communities, both urban and rural, toward the day when all our people will live in good homes.

Life, Men, Money, People

“The herdist instinct is furthermore not only personal, in the sense that it clamors for a personal collectivism; it creates also a longing and desire for the visual or acoustic contemplation of identitarian or uniformistic phenomena. The true herdist, the man truly dominated by that inferior instinct, will not only rejoice in marching amongst twenty thousand uniformly clad soldiers, all stepping rhythmically in one direction, but he will find an almost equal gratification in contemplating the show from a balcony. He will not only be happy in sitting amidst two hundred other bespectacled businessmen, drinking beer and humming one chant in unison, but the aspect of a skyscraper with a thousand identical windows will probably impress him more than a picture by Botticelli or Zurbarán.”

Erik von Kuehnelt-Leddihn (1909–1999) Austrian noble and political theorist

Pg 16
The Menace of the Herd (1943)

Drink, Beer, Personality, Happiness

“The energy disruptions of the Long Emergency are going to remind us that the skyscraper was an experimental building form.”

James Howard Kunstler book The Long Emergency

Source: The Long Emergency (2005), Chapter 7, p. 253.