Quotes about something

page 100

Source: The Subtle Art of Not Giving a F*ck (2016), Chapter 6, “You’re Wrong About Everything (But So Am I)” (p. 136)

Rabbit at Rest (1990)

The Ultimate Source of Meaning, Awake! magazine, october 22, 1980.
Others

Crazy Stupid Politics (2012)

Skinnie magazine, March 2010, p. 29

"Quotes", The Educated Imagination (1963), Talk 6: The Vocation of Eloquence

"A Free Inquiry into the Vulgar Notion of Nature" Sect.2 ibid.

John Perry Barlow 2.0 (2004)

Interview with Alison McLaughlin at New York Fashion Week 2012, September 2012. [E3Mfyzi3R90].

He Didn't Have to Be, written by Brad Paisley and Kelley Lovelace.
Song lyrics, Who Needs Pictures (1999)

Quote of Kandinsky, c 1903; as cited by de:Wolf-Dieter Dube, in Expressionism; Praeger Publishers, New York, 1973, p. 114
1910 - 1915

Source: More Than Human (1953), Chapter 3, p. 169

Serena Davies, "In the studio:Peter Blake, http://www.telegraph.co.uk/arts/main.jhtml?xml=/arts/2005/12/13/bastudio13.xml The Daily Telegraph, 2005-12-13
The "greatest gallery" refers to the National Gallery in London, where he was the associate artist in 1996.
Life

Interview by Mark Prindle, 2003 ( link http://www.markprindle.com/hall-i.htm)
Quotes from interviews

"When You Walk In The Room" (1962)

A Fable for Critics (1848)

Source: 1990s, To End a War (1998), pp. 189-190

Source: 1950's, Interview by William Wright, Summer 1950, p. 145

More Than This
Song lyrics, Up (2002)

The Guardian interview (2008)

Ancient Israel’s Faith and History: An Introduction the Bible in Context (2001)

Source: The White Rose (1985), Chapter 39, “A Guest at Charm” (pp. 624-625)

Source: Art Talk, Conversations with 15 woman artists 1975, p. 77.

In an interview (March 1960) with David Sylvester, edited for broadcasting by the BBC first published in 'Location', Spring 1963; as quoted in Interviews with American Artists, by David Sylvester; Chatto & Windus, London 2001, p. 54
1960's

Statement made to representatives of the Pagan Newswire Collective (PNC)
2011-10-16
http://www.patheos.com/blogs/paganswithdisabilities/2011/10/full-transcript-of-qa-with-presidential-candidate-gary-johnson/
2012-02-24
Economic Policy

"Strategy", item 180
Industrial Society and Its Future (1995)

1980s

I know what I have to do.
As quoted in Denise Worrell (1989), Icons: Intimate Portraits.

Meister Eckhart: A Modern Translation (1941) by Raymond Bernard Blakney, p. 240

The End of the Universe (2002)

On the morality of the firebombing campaign http://www.pbs.org/wgbh/amex/bomb/peopleevents/pandeAMEX61.html)

Introduction (1977 edition)
The Magus (1965)

Michael Halliday (1977). "Ideas about Language" Reprinted in Volume 3 of MAK Halliday's Collected Works. Edited by J.J. Webster. London: Continuum. p113.
1970s and later

Hey Nostradamus! (2003)

Force and Signification
Writing and Difference (1978)

"On China's State-Sponsored Amnesia"

Quoted from the Singer's National News, 25 June 2007

As quoted in NME (30 August 1997).
1990s

Exclusive Interview with Peter Cullen http://collider.com/exclusive-interview-with-peter-cullen/ (June 9, 2007)

But I would rather go back to the old days when even the most modest attempt by Government to intervene in commerce and industry was rudely rebuffed.
March 27, 1968, page 213.
Official Report of Proceedings of the Hong Kong Legislative Council

Blue Like Jazz (2003, Nelson Books)

Helen Schucman (1976), in interview by David Hammond August 1976 in Belvedere, California. Quoted in: The Voice: A Historical Moment with Helen https://acim.org/Scribing/the_voice.html at acim.org. Accessed May 21, 2014. Also online ar merelyacim.wikispaces.com http://merelyacim.wikispaces.com/An+interview+with+Helen+Schucman.
In answer of question: "Regarding the voice you heard in the scribing A Course in Miracles, did it come from outside or from within?"

Source: Participant observer, 1994, p. 38; As cited in: Ickis (2014)

Books, Pure Effect - Direct Mind Reading and Magical Artistry (2000)

From Her Tours and CDs, I'm The One That I Want Tour

IV, vii, 1.
Elegies

The Sheep Child (l. 31–35).
The Whole Motion; Collected Poems, 1945-1992 (1992)

Source: The Greening of America (1970), Chapter IX : The New Generation, p. 228

No Direction Home (2005)

A Choice of Gods (1972)
Context: I have become a student of the sky and know all the clouds there are and have firmly fixed in mind the various hues of blue that the sky can show — the washed-out, almost invisible blue of a hot, summer noon; the soft robin's egg, sometimes almost greenish blue of a late springtime evening, the darker, almost violet blue of fall. I have become a connoisseur of the coloring that the leaves take on in autumn and I know all the voices and the moods of the woods and river valley. I have, in a measure, entered into communion with nature, and in this wise have followed in the footsteps of Red Cloud and his people, although I am sure that their understanding and their emotions are more fine-tuned than mine are. I have seen, however, the roll of seasons, the birth and death of leaves, the glitter of the stars on more nights than I can number and from all this as from nothing else I have gained a sense of a purpose and an orderliness which it does not seem to me can have stemmed from accident alone.
It seems to me, thinking of it, that there must be some universal plan which set in motion the orbiting of the electrons about the nucleus and the slower, more majestic orbit of the galaxies about one another to the very edge of space. There is a plan, it seems to me, that reaches out of the electron to the rim of the universe and what this plan may be or how it came about is beyond my feeble intellect. But if we are looking for something on which to pin our faith — and, indeed, our hope — the plan might well be it. I think we have thought too small and have been too afraid...

Ch 24

Pages 713–714.
"The Marxian Theory of Value: Das Kapital: A Criticism" (1884)
Context: It is true also that Marx elsewhere virtually defines value so as to make it essentially dependent upon human labour (p. 81 [43a]). But for all that his analysis is based on the bare fact of exchangeability. This fact alone establishes Verschiedenkeit and Ghichheit, heterogeneity and homogeneity. Any two things which normally exchange for each other, whether products of labour or not, whether they have, or have not, what we choose to call value, must have that "common something" in virtue of which things exchange and can be equated with each other; and all legitimate inferences as to wares which are drawn from the bare fact of exchange must be equally legitimate when applied to other exchangeable things. Now the "common something," which all exchangeable things contain, is neither more nor less than abstract utility, i. e. power of satisfying human desires. The exchanged articles differ from each other in the specific desires which they satisfy, they resemble each other in the degree of satisfaction which they confer. The Verschiedenheit is qualitative, the Gleichheit is quantitative.It cannot be urged that there is no common measure to which we can reduce the satisfaction derived from such different articles as Bibles and brandy, for instance (to take an illustration suggested by Marx), for as a matter of fact we are all of us making such reductions every day. If I am willing to give the same sum of money for a family Bible and for a dozen of brandy, it is because I have reduced the respective satisfactions their possession will afford me to a common measure, and have found them equivalent. In economic phrase, the two things have equal abstract utility for me. In popular (and highly significant) phrase, each of the two things is worth as much to me as the other.Marx is, therefore, wrong in saying that when we pass from that in which the exchangeable wares differ (value in use) to that in which they are identical (value in exchange), we must put their utility out of consideration, leaving only jellies of abstract labour. What we really have to do is to put out of consideration the concrete and specific qualitative utilities in which they differ, leaving only the abstract and general quantitative utility in which they are identical.This formula applies to all exchangeable commodities, whether producible in indefinite quantities, like family Bibles and brandy, or strictly limited in quantity, like the "Raphaels," one of which has just been purchased for the nation. The equation which always holds in the case of a normal exchange is an equation not of labour, but of abstract utility, significantly called worth. … A coat is made specifically useful by the tailor's work, but it is specifically useful (has a value in use) because it protects us. In the same way, it is made valuable by abstractly useful work, but it is valuable because it has abstract utility.

A Conversation with Ward Cunningham (2003), The Simplest Thing that Could Possibly Work
Context: The complexity that we despise is the complexity that leads to difficulty. It isn't the complexity that raises problems. There is a lot of complexity in the world. The world is complex. That complexity is beautiful. I love trying to understand how things work. But that's because there's something to be learned from mastering that complexity.

Barbara Walters interview
Context: I just don't understand the need to name something "the best" or more better than something else. Saying one thing is better than another, one performance is better than another performance — there can't be a contest in this area. I don't understand that.

Source: Generation Loss (2007), Ch. 1
Context: It sounds creepy, but I always liked the idea of disappearing then becoming something new. That of course was before I disappeared.

Source: On Aggression (1963), Ch. XII : On the Virtue of Scientific Humility
Context: We are the highest achievement reached so far by the great constructors of evolution. We are their "latest" but certainly not their last word. The scientist must not regard anything as absolute, not even the laws of pure reason. He must remain aware of the great fact, discovered by Heraclitus, that nothing whatever really remains the same even for one moment, but that everything is perpetually changing. To regard man, the most ephemeral and rapidly evolving of all species, as the final and unsurpassable achievement of creation, especially at his present-day particularly dangerous and disagreeable stage of development, is certainly the most arrogant and dangerous of all untenable doctrines. If I thought of man as the final image of God, I should not know what to think of God. But when I consider that our ancestors, at a time fairly recent in relation to the earth's history, were perfectly ordinary apes, closely related to chimpanzees, I see a glimmer of hope. It does not require very great optimism to assume that from us human beings something better and higher may evolve. Far from seeing in man the irrevocable and unsurpassable image of God, I assert – more modestly and, I believe, in greater awe of the Creation and its infinite possibilities – that the long-sought missing link between animals and the really humane being is ourselves!

Characters, Ch. 2 : A Christmas Dinner
Sketches by Boz (1836-1837)
Context: Christmas time! That man must be a misanthrope indeed, in whose breast something like a jovial feeling is not roused — in whose mind some pleasant associations are not awakened — by the recurrence of Christmas. There are people who will tell you that Christmas is not to them what it used to be; that each succeeding Christmas has found some cherished hope, or happy prospect, of the year before, dimmed or passed away; that the present only serves to remind them of reduced circumstances and straitened incomes — of the feasts they once bestowed on hollow friends, and of the cold looks that meet them now, in adversity and misfortune. Never heed such dismal reminiscences. There are few men who have lived long enough in the world, who cannot call up such thoughts any day in the year. Then do not select the merriest of the three hundred and sixty-five for your doleful recollections, but draw your chair nearer the blazing fire — fill the glass and send round the song — and if your room be smaller than it was a dozen years ago, or if your glass be filled with reeking punch, instead of sparkling wine, put a good face on the matter, and empty it off-hand, and fill another, and troll off the old ditty you used to sing, and thank God it’s no worse. Look on the merry faces of your children (if you have any) as they sit round the fire. One little seat may be empty; one slight form that gladdened the father’s heart, and roused the mother’s pride to look upon, may not be there. Dwell not upon the past; think not that one short year ago, the fair child now resolving into dust, sat before you, with the bloom of health upon its cheek, and the gaiety of infancy in its joyous eye. Reflect upon your present blessings — of which every man has many — not on your past misfortunes, of which all men have some. Fill your glass again, with a merry face and contented heart. Our life on it, but your Christmas shall be merry, and your new year a happy one!

talking about http://asoiaf.westeros.org/index.php/topic/30792-daniel-abraham/page__st__60 his epic fantasy series The Dagger and the Coin
Context: For the moment, it's called the Dagger and the Coin, but with any luck, that'll swap out for a better name. There are some things in the proposal that need to get smoothed out so that everyone's on board, but I think it'll happen.
It's a very different from the Long Price books. It looks and feels more like traditional epic fantasy -- quasi-Europe, ferinstance, and some dragons in the background, no 15-year gaps between books -- but the plot structure is packed with everything I think is cool. There are echoes I'm intentionally building in of from things as familiar as Firefly and The Count of Monte Cristo and as obscure as Tevis' Queen's Gambit and Reck-Malleczewen's Diary of a Man in Despair. And the magic system is all about faith and deception, which will be tricky and fun both.
What I want to do is write something that I could read now (39 years old, married, raising a kid, 10 year IT career behind me, post 9-11, post-Bush, etc.) with the same joy I read the Belgariad when I was 16.

Interviewed on Les Hixon's show "In The Spirit" on WBAI New York (November 1972)

The Devil and Daniel Webster (1937)
Context: He started off in a low voice, though you could hear every word. They say he could call on the harps of the blessed when he chose. And this was just as simple and easy as a man could talk. But he didn't start out by condemning or reviling. He was talking about the things that make a country a country, and a man a man.
And he began with the simple things that everybody's known and felt — the freshness of a fine morning when you're young, and the taste of food when you're hungry, and the new day that's every day when you're a child. He took them up and he turned them in his hands. They were good things for any man. But without freedom, they sickened. And when he talked of those enslaved, and the sorrows of slavery, his voice got like a big bell. He talked of the early days of America and the men who had made those days. It wasn't a spread-eagle speech, but he made you see it. He admitted all the wrong that had ever been done. But he showed how, out of the wrong and the right, the suffering and the starvations, something new had come. And everybody had played a part in it, even the traitors.

Source: The Revolt of the Masses (1929), Chapter XIV: Who Rules The World?
Context: No one knows toward what center human things are going to gravitate in the near future, and hence the life of the world has become scandalously provisional. Everything that today is done in public and in private — even in one's inner conscience — is provisional, the only exception being certain portions of certain sciences. He will be a wise man who puts no trust in all that is proclaimed, upheld, essayed, and lauded at the present day. All that will disappear as quickly as it came. All of it, from the mania for physical sports (the mania, not the sports themselves) to political violence; from "new art" to sun-baths at idiotic fashionable watering-places. Nothing of all that has any roots; it is all pure invention, in the bad sense of the word, which makes it equivalent to fickle caprice. It is not a creation based on the solid substratum of life; it is not a genuine impulse or need. In a word, from the point of view of life it is false.
We are in presence of the contradiction of a style of living which cultivates sincerity and is at the same time a fraud. There is truth only in an existence which feels its acts as irrevocably necessary. There exists today no politician who feels the inevitableness of his policy, and the more extreme his attitudes, the more frivolous, the less inspired by destiny they are. The only life with its roots fixed in earth, the only autochthonous life, is that which is made of inevitable acts. All the rest, all that it is in our power to take or to leave or to exchange for something else, is mere falsification of life. Life today is the fruit of an interregnum, of an empty space between two organizations of historical rule — that which was, that which is to be. For this reason it is essentially provisional. Men do not know what institutions to serve in truth; women do not know what type of men they in truth prefer.
The European cannot live unless embarked upon some great unifying enterprise. When this is lacking, he becomes degraded, grows slack, his soul is paralyzed. We have a commencement of this before our eyes today. The groups which up to today have been known as nations arrived about a century ago at their highest point of expansion. Nothing more can be done with them except lead them to a higher evolution. They are now mere past accumulating all around Europe, weighing it down, imprisoning it. With more vital freedom than ever, we feel that we cannot breathe the air within our nations, because it is confined air. What was before a nation open to all the winds of heaven, has turned into something provincial, an enclosing space.

"Fifth Talk in Bombay 1950 (12 March 1950) http://www.jkrishnamurti.com/krishnamurti-teachings/view-text.php?tid=352&chid=4672&w=%22Truth+is+not+something+in+the+distance%22, J.Krishnamurti Online, JKO Serial No. 500312, The Collected Works, Vol. VI, p. 134
Posthumous publications, The Collected Works
Context: Truth is not something in the distance; there is no path to it, there is neither your path nor my path; there is no devotional path, there is no path of knowledge or path of action, because truth has no path to it. The moment you have a path to truth, you divide it, because the path is exclusive; and what is exclusive at the very beginning will end in exclusiveness. The man who is following a path can never know truth because he is living in exclusiveness; his means are exclusive, and the means are the end, are not separate from the end. If the means are exclusive, the end is also exclusive. So there is no path to truth, and there are not two truths. Truth is not of the past or the present, it is timeless; the man who quotes the truth of the Buddha, of Shankara, of Christ, or who merely repeats what I am saying, will not find truth, because repetition is not truth. Repetition is a lie.

Source: The Artful Universe (1995), Ch. 5, pp. 219-220

"Susan Sontag Finds Romance," interview by Leslie Garis, The New York Times (2 August 1992)
Context: To me, literature is a calling, even a kind of salvation. It connects me with an enterprise that is over 2,000 years old. What do we have from the past? Art and thought. That's what lasts. That's what continues to feed people and give them an idea of something better. A better state of one's feelings or simply the idea of a silence in one's self that allows one to think or to feel. Which to me is the same.

Transhumanism (1957)
Context: As a result of a thousand million years of evolution, the universe is becoming conscious of itself, able to understand something of its past history and its possible future. This cosmic self-awareness is being realized in one tiny fragment of the universe — in a few of us human beings. Perhaps it has been realized elsewhere too, through the evolution of conscious living creatures on the planets of other stars. But on this our planet, it has never happened before.

"Two or Three Ideas" (1951); later published in Opus Posthumous (1959)
Context: Style is not something applied. It is something that permeates. It is of the nature of that in which it is found, whether the poem, the manner of a god, the bearing of a man. It is not a dress.

"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.

Source: The Book on the Taboo Against Knowing Who You Are (1966), p. 96

The Lover's Progress (licensed 6 December 1623; revised 1634; published 1647), Act I, scene 1.

Parliament of Whores (1991)

Generation of Greatness (1957)
Context: In my opinion, neither organisms nor organizations evolve slowly and surely into something better, but drift until some small change occurs which has immediate and overwhelming significance. The special role of the human being is not to wait for these favorable accidents but deliberately to introduce the small change that will have great significance.
To treat young men like men; to use modern recording techniques to capture the moment of exciting teaching; to gather ninety great men out of our one-hundred and seventy million — these, in retrospect, will seem like small changes indeed if they succeed in building a generation of greatness.

Poppin (1969)
Context: We can only take it so far, because man can only take it so far, lower self can only take it so far, and you have to realize that the public is only at a certain place. We won't see the day when the public accepts what we wanna project, even though they are accepting a lot now. By the time they're accepting it, maybe they'll be too old.... If it's total freedom, I guess the ultimate thing you can go into is total silence between the audience and performer, with the performer projecting something he doesn't even have to play. A total silence trip is the ultimate.... We do antagonize them psychologically. People look at us and react. They either go "Wow! Hey-hey-hey, baby!" and we say that's great. They're reacting and that's wonderful. It's better than them sitting there doing nothing. I say make them react — do whatever's in your power to move the audience, and if that's where it is, and there where it is with America, sex and violence, then I say project it.

"The Risk Taker" http://books.guardian.co.uk/departments/politicsphilosophyandsociety/story/0,,635799,00.html, profile/interview by Gary Younge, The Guardian (19 January 2002)
Context: I guess I think I'm writing for people who are smarter than I am, because then I'll be doing something that's worth their time. I'd be very afraid to write from a position where I consciously thought I was smarter than most of my readers.

Book IV, lines 1133–1134 (reported in Bartlett's Familiar Quotations)
Variant translation: From the midst of the fountain of delights rises something bitter that chokes them all amongst the flowers.
Compare: "Still from the fount of joy's delicious springs / Some bitter o'er the flowers its bubbling venom flings", Lord Byron, Childe Harold's Pilgrimage, Canto I, stanza 82
De Rerum Natura (On the Nature of Things)

The Manual of the Warrior of Light (1997)
Context: Every Warrior of the Light has suffered for the most trivial of reasons. Every Warrior of the Light has, at least once, believed he was not a Warrior of the Light.
Every Warrior of the Light has failed in his spiritual duties.
Every Warrior of the Light has said "yes" when he wanted to say "no."
Every Warrior of the Light has hurt someone he loved.
That is why he is a Warrior of the Light, because he has been through all this and yet has never lost hope of being better than he is.
Each stone, each bend cries welcome to him. He identifies with the mountains and the streams, he sees something of his own soul in the plants and the animals and the birds of the field.
Then, accepting the help of God and of God's signs, he allows his personal legend to guide him toward the tasks that life has reserved for him.
On some nights, he has nowhere to sleep, on others he suffers from insomnia. "That's just how it is," thinks the warrior. "I was the one who chose to walk this path."
In these words lies all his power: He chose the path along which he is walking and so has no complaints.

Source: Aesthetics and Hermeneutics (1964), p. 101 http://books.google.com/books?id=7RP-TggufEEC&pg=PA101 (quotation is from Goethe)
Context: The work of art that says something confronts us itself. That is, it expresses something in such a way that what is said is like a discovery, a disclosure of something previously concealed. The element of surprise is based on this. "So true, so filled with being" [So wahr, so seiend] is not something one knows any other way. Everything familiar is eclipsed. To understand what the work of art says to us is therefore a self-encounter.

Closing statements and prayer from an informal address delivered in Calcutta, India (October 1968), from The Asian Journal of Thomas Merton (1975); quoted in Thomas Merton, Spiritual Master : The Essential Writings (1992), p. 237.

Quoted in Parade Magazine 10 July 2008 http://www.parade.com/celebrity/celebrity-parade/archive/pc_0194.html.
Context: I jumped into the water with 45 sharks without a cage in the Bahamas for a Discovery Channel show. That was a really good experience. I'm not saying that everyone should swim with sharks, but sometimes you have to jump over your own shadow in order to learn something that you will never forget for the rest of your life. Then you know you can conquer your fears.

Review of Magnolia (1999), in review for Great Movies (27 November 2008) http://www.rogerebert.com/reviews/great-movie-magnolia-1999
Reviews, Four star reviews
Context: Magnolia is a film of sadness and loss, of lifelong bitterness, of children harmed and adults destroying themselves. As the narrator tells us near the end, "We may be through with the past, but the past is never through with us." In this wreckage of lifetimes, there are two figures, a policeman and a nurse, who do what they can to offer help, hope and love. … The central theme is cruelty to children, and its lasting effect. This is closely linked to a loathing or fear of behaving as we are told, or think, that we should. … As an act of filmmaking, it draws us in and doesn't let go. It begins deceptively, with a little documentary about amazing coincidences (including the scuba diver scooped by a fire-fighting plane and dumped on a forest fire) … coincidences and strange events do happen, and they are as real as everything else. If you could stand back far enough, in fact, everything would be revealed as a coincidence. What we call "coincidences" are limited to the ones we happen to notice. … In one beautiful sequence, Anderson cuts between most of the major characters all simultaneously singing https://www.youtube.com/watch?v=aNmKghTvj0E Aimee Mann's "It's Not Going to Stop." A directorial flourish? You know what? I think it's a coincidence. Unlike many other "hypertext movies" with interlinking plots, Magnolia seems to be using the device in a deeper, more philosophical way. Anderson sees these people joined at a level below any possible knowledge, down where fate and destiny lie. They have been joined by their actions and their choices.
And all leads to the remarkable, famous, sequence near the film's end when it rains frogs. Yes. Countless frogs, still alive, all over Los Angeles, falling from the sky. That this device has sometimes been joked about puzzles me. I find it a way to elevate the whole story into a larger realm of inexplicable but real behavior. We need something beyond the human to add another dimension. Frogs have rained from the sky eight times this century, but never mind the facts. Attend instead to Exodus 8:2, which is cited on a placard in the film: "And if thou refuse to let them go, behold, I will smite your whole territory with frogs." Let who go? In this case, I believe, it refers not to people, but to fears, shames, sins.
Magnolia is one of those rare films that works in two entirely different ways. In one sense, it tells absorbing stories, filled with detail, told with precision and not a little humor. On another sense, it is a parable. The message of the parable, as with all good parables, is expressed not in words but in emotions. After we have felt the pain of these people, and felt the love of the policeman and the nurse, we have been taught something intangible, but necessary to know.

Source: The Book on the Taboo Against Knowing Who You Are (1966), p. 104-105

Review of Magnolia (1999), in review for Great Movies (27 November 2008) http://www.rogerebert.com/reviews/great-movie-magnolia-1999
Reviews, Four star reviews
Context: Magnolia is a film of sadness and loss, of lifelong bitterness, of children harmed and adults destroying themselves. As the narrator tells us near the end, "We may be through with the past, but the past is never through with us." In this wreckage of lifetimes, there are two figures, a policeman and a nurse, who do what they can to offer help, hope and love. … The central theme is cruelty to children, and its lasting effect. This is closely linked to a loathing or fear of behaving as we are told, or think, that we should. … As an act of filmmaking, it draws us in and doesn't let go. It begins deceptively, with a little documentary about amazing coincidences (including the scuba diver scooped by a fire-fighting plane and dumped on a forest fire) … coincidences and strange events do happen, and they are as real as everything else. If you could stand back far enough, in fact, everything would be revealed as a coincidence. What we call "coincidences" are limited to the ones we happen to notice. … In one beautiful sequence, Anderson cuts between most of the major characters all simultaneously singing https://www.youtube.com/watch?v=aNmKghTvj0E Aimee Mann's "It's Not Going to Stop." A directorial flourish? You know what? I think it's a coincidence. Unlike many other "hypertext movies" with interlinking plots, Magnolia seems to be using the device in a deeper, more philosophical way. Anderson sees these people joined at a level below any possible knowledge, down where fate and destiny lie. They have been joined by their actions and their choices.
And all leads to the remarkable, famous, sequence near the film's end when it rains frogs. Yes. Countless frogs, still alive, all over Los Angeles, falling from the sky. That this device has sometimes been joked about puzzles me. I find it a way to elevate the whole story into a larger realm of inexplicable but real behavior. We need something beyond the human to add another dimension. Frogs have rained from the sky eight times this century, but never mind the facts. Attend instead to Exodus 8:2, which is cited on a placard in the film: "And if thou refuse to let them go, behold, I will smite your whole territory with frogs." Let who go? In this case, I believe, it refers not to people, but to fears, shames, sins.
Magnolia is one of those rare films that works in two entirely different ways. In one sense, it tells absorbing stories, filled with detail, told with precision and not a little humor. On another sense, it is a parable. The message of the parable, as with all good parables, is expressed not in words but in emotions. After we have felt the pain of these people, and felt the love of the policeman and the nurse, we have been taught something intangible, but necessary to know.

The Sounds of Taqwa (2006)
Context: The Qur’an has been around for over 1500 years and has been embraced by individuals from countries all over the world. This has resulted in many opinions about how it should be interpreted. A small number of people who follow the Qur’an — primarily in places like North America, The United Kingdom, Arabia and South Africa — hold the view that musical instruments are “unlawful”.
Living in North America, I thought it was best to keep instruments out of my CDs so families would feel comfortable listening to the songs.
10 years and almost 12 albums later, I felt it was important to be more honest with myself about my own personal opinions of music and its usefulness. There are also the majority of followers of Qur’an who don’t have a problem with music and who do not consider it as unlawful, thus I felt it was important to share something of value with them as well through some newer music and songs.

Source: Zen and the Art of Motorcycle Maintenance (1974), Ch. 30
Context: It is an immortal dialogue, strange and puzzling at first, but then hitting you harder and harder, like truth itself. What Phædrus has been talking about as Quality, Socrates appears to have described as the soul, self-moving, the source of all things. There is no contradiction. There never really can be between the core terms of monistic philosophies. The One in India has got to be the same as the One in Greece. If it's not, you've got two. The only disagreements among the monists concern the attributes of the One, not the One itself. Since the One is the source of all things and includes all things in it, it cannot be defined in terms of those things, since no matter what thing you use to define it, the thing will always describe something less than the One itself. The One can only be described allegorically, through the use of analogy, of figures of imagination and speech. Socrates chooses a heaven-and-earth analogy, showing how individuals are drawn toward the One by a chariot drawn by two horses.

Robert Fulghum : Philosopher King
Context: I did not set out to be a writer. It's something that came to me after I was 50 years of age. And I already had the life that I wanted and the wife I wanted and at that age I was fairly clear about what was important. The success that my writing is enjoying is like finding out your rich uncle has left you a train full of hammers. I mean, how many hammers can you use? It's chocolate syrup. It's an extra. So I take it very lightly. And if I were to fall off the charts tomorrow, I've already had more fame than I deserve and more money than I've ever had in my life. The thought that I could finally pay off my Visa bill! That's rich.

De Abaitua interview (1998)
Context: What I would prefer to have is to have a kind of magic where we say, "OK, we’re going to do a magical performance on this night, at this time. You come along, if you don’t think it’s magical, that’s fine. We’ll show you. We’ll show you what we mean, and you judge for yourself." That’s only fair. So a lot of the magic we do tends to gravitate toward the practical end, toward something that is tangible. Where you’ve got a record at the end of it, a performance at the end of it, a painting at the end of it. You’ve conjured some energy, some idea, some information from somewhere and put it in a tangible form. You conjure something into existence in a literal sense. A rabbit out of a hat. Something out of nothing. That’s one level to it, but there’s a lot of background to that. That’s the stuff that people see, that’s the end result of the process. But we also do a lot of ritual work purely on our own.

Interview in Musician magazine (1987)
Context: Where I feel this has cost me is in the personality situation, where you're expected to be a personality. You not only have to write and record, but you have to go out and sell it. Well, I'm not a salesman, and I'm very bad at selling things. If I had to do that for a living, I'd probably be completely broke. I can't sell myself. And I don't even want to. That's something that's not going to change.

"The Bat," ll. 5-10
Open House (1941)
Context: He loops in crazy figures half the night
Among the trees that face the corner light.
But when he brushes up against a screen,
We are afraid of what our eyes have seen:
For something is amiss or out of place
When mice with wings can wear a human face.

777 (1909)
Context: The following is an attempt to systematize alike the data of mysticism and the results of comparative religion.
The skeptic will applaud our labours, for that the very catholicity of the symbols denies them any objective validity, since, in so many contradictions, something must be false; while the mystic will rejoice equally that the self-same catholicity all-embracing proves that very validity, since after all something must be true.
Fortunately we have learnt to combine these ideas, not in the mutual toleration of sub-contraries, but in the affirmation of contraries, that transcending of the laws of intellect which is madness in the ordinary man, genius in the Overman who hath arrived to strike off more fetters from our understanding.

As quoted in Virginia Tech Magazine (Summer 2013) by Denise Young; also in Digital Da Vinci: Computers in the Arts and Sciences (2014) by Newton Lee

Source: Life Itself : A Memoir (2011), Ch. 55 : Go Gently
Context: "Kindness" covers all of my political beliefs. No need to spell them out. I believe that if, at the end, according to our abilities, we have done something to make others a little happier, and something to make ourselves a little happier, that is about the best we can do. To make others less happy is a crime. To make ourselves unhappy is where all crime starts. We must try to contribute joy to the world. That is true no matter what our problems, our health, our circumstances. We must try. I didn't always know this and am happy I lived long enough to find it out.

Chap. VII: Noble Life And Common Life, Or Effort And Inertia
The Revolt of the Masses (1929)
Context: The mass-man would never have accepted authority external to himself had not his surroundings violently forced him to do so. As to-day, his surroundings do not so force him, the everlasting mass-man, true to his character, ceases to appeal to other authority and feels himself lord of his own existence. On the contrary the select man, the excellent man is urged, by interior necessity, to appeal from himself to some standard beyond himself, superior to himself, whose service he freely accepts.… Contrary to what is usually thought, it is the man of excellence, and not the common man who lives in essential servitude. Life has no savour for him unless he makes it consist in service to something transcendental. Hence he does not look upon the necessity of serving as an oppression. When, by chance, such necessity is lacking, he grows restless and invents some new standard, more difficult, more exigent, with which to coerce himself. This is life lived as a discipline — the noble life.

Source: Science and the Problem of Values (1972), p. 119
Context: It seems important that the social value factor be more generally recognized as a powerful causal agent in its own right and something to be dealt with directly as such. No more critical task can be projected for the 1970s than that of seeking for civilized society a new, elevated set of value guidelines more suited to man's expanded numbers and new powers over nature, a frame of reference for value priorities that will act to secure and conserve our world instead of destroying it.

Perelandra (1943)
Context: And now, by a transition which he did not notice, it seemed that what had begun as speech was turned into sight, or into something that can be remembered only as if it were seeing. He thought he saw the Great Dance. It seemed to be woven out of the intertwining undulation of many cords or bands of light, leaping over and under one another and mutually embraced in arabesques and flower-like subtleties. Each figure as he looked at it became the master-figure or focus of the whole spectacle, by means of which his eye disentangled all else and brought it into unity — only to be itself entangled when he looked to what he had taken for mere marginal decorations and found that there also the same hegemony was claimed, and the claim made good, yet the former pattern thereby disposed but finding in its new subordination a significance greater than that which it had abdicated. He could see also (but the word "seeing" is now plainly inadequate) wherever the ribbons or serpents of light intersected minute corpuscles of momentary brightness: and he knew somehow that these particles were the secular generalities of which history tells — people, institutions, climates of opinion, civilizations, arts, sciences and the like — ephemeral coruscations that piped their short song and vanished. The ribbons or cords themselves, in which millions of corpuscles lived and died, were the things of some different kind. At first he could not say what. But he knew in the end that most of them were individual entities. If so, the time in which the Great Dance proceeds is very unlike time as we know it. Some of the thinner more delicate cords were the beings that we call short lived: flowers and insects, a fruit or a storm of rain, and once (he thought) a wave of the sea. Others were such things we think lasting: crystals, rivers, mountains, or even stars. Far above these in girth and luminosity and flashing with colours form beyond our spectrum were the lines of personal beings, yet as different from one another in splendour as all of them from the previous class. But not all the cords were individuals: some of them were universal truths or universal qualities. It did not surprise him then to find that these and the persons were both cords and both stood together as against the mere atoms of generality which lived and died in the clashing of their streams: But afterwards, when he came back to earth, he wondered. And by now the thing must have passed together out of the region of sight as we understand it. For he says that the whole figure of these enamored and inter-inanimate circlings was suddenly revealed as the mere superficies of a far vaster pattern in four dimensions, and that figure as the boundary of yet others in other worlds: till suddenly as the movement grew yet swifter, the interweaving yet more ecstatic, the relevance of all to all yet more intense, as dimension was added to dimension and that part of him which could reason and remember was dropped further and further behind that part of him which saw, even then, at the very zenith of complexity, complexity was eaten up and faded, as a thin white cloud fades into the hard blue burning of sky, and all simplicity beyond all comprehension, ancient and young as spring, illimitable, pellucid, drew him with cords of infinite desire into its own stillness. He went up into such a quietness, a privacy, and a freshness that at the very moment when he stood farthest from our ordinary mode of being he had the sense of stripping off encumbrances and awaking from a trance, and coming to himself. With a gesture of relaxation he looked about him…

As quoted in Science at the Edge: Conversations with the Leading Scientific Thinkers of Today (2008), p. 170
Context: People are often unconscious of some of the mechanisms that naturally occur in them in a biased way. For example, if I do something that is beneficial to you or to others, I will use the active voice: I did this, I did that, then benefits rained down on you. But if I did something that harmed others, I unconsciously switch to a passive voice: this happened, then that happened, then unfortunately you suffered these costs. One example I always loved was a man in San Francisco who ran into a telephone pole with his car, and he described it to the police as, "the pole was approaching my car, I attempted to swerve out-of-the-way, when it struck me."
Let me give you another, the way in which group membership can entrain language-usages that are self-deceptive. You can divide people into in-groups or out-groups, or use naturally occurring in-groups and out-groups, and if someone's a member of your in-group and they do something nice, you give a general description of it – "he's a generous person". If they do something negative, you state a particular fact: "in this case he misled me", or something like that. But it's exactly the other way around for an out-group member. If an out-group member does something nice, you give a specific description of it: "she gave me directions to where I wanted to go". But if she does something negative, you say, "she's a selfish person". So these kinds of manipulations of reality are occurring largely unconsciously.

"A Defence of Baby-Worship"
The Defendant (1901)
Context: The essential rectitude of our view of children lies in the fact that we feel them and their ways to be supernatural while, for some mysterious reason, we do not feel ourselves or our own ways to be supernatural. The very smallness of children makes it possible to regard them as marvels; we seem to be dealing with a new race, only to be seen through a microscope. I doubt if anyone of any tenderness or imagination can see the hand of a child and not be a little frightened of it. It is awful to think of the essential human energy moving so tiny a thing; it is like imagining that human nature could live in the wing of a butterfly or the leaf of a tree. When we look upon lives so human and yet so small, we feel as if we ourselves were enlarged to an embarrassing bigness of stature. We feel the same kind of obligation to these creatures that a deity might feel if he had created something that he could not understand.

On his relations with David Bowie
Rolling Stone interview (2003)
Context: I used to catch myself — maybe we'd be having dinner with the future king of Spain, and I'd be grumpy, like, "What are we doing here, hanging out with these swells?" And then, right away, I'd realize, "Dude, you're jealous." It got very hard on a certain level. He was a person of affairs, in the worldly sense, with a lot of choices laid out on his smorgasbord. I had no choices whatsoever. I was a pariah. But a very fortunate one, in that he saw something worthwhile in me, and he made me two terrific records. He gave me the break I needed to continue living life. He is my benefactor.

As quoted in “Don Pañong – Genius" by A.V.H. Hartendorp in Philippine Magazine (September 1929), p. 210.
ULOL
Context: We Filipinos are the most promising people in the world. We have unheard-of-possibilities. There have never been a people similarly situated. Here we are in the Orient with our Oriental thoughts and sentiments, but living amid a civilization more Western than was ever known in The East. The Philippines is the only country where East meets West. The Filipino is a true cosmopolitan. From him the world may expect something new and distinctive.

The Economic Tendency of Freethought (1890)
Context: A man won't steal, ordinarily, unless that which he steals is something he cannot as easily get without stealing; in liberty the cost of stealing would involve greater difficulties than producing, and consequently he would not be apt to steal. But suppose a man steals. Today you go to a representative of that power which has robbed you of the earth, of the right of free contract of the means of exchange, taxes you for everything you eat or wear (the meanest form of robbery), — you go to him for redress from a thief!

"A Film from the Sixties"
Poems New and Collected (1998), No End of Fun (1967)

Innkeeper's wife
A Child is Born (1942)
Context: Life is not lost by dying! Life is lost
Minute by minute, day by dragging day,
In all the thousand, small, uncaring ways,
The smooth appeasing compromises of time,
Which are King Herod and King Herod's men,
Always and always. Life can be
Lost without vision but not lost by death,
Lost by not caring, willing, going on
Beyond the ragged edge of fortitude
To something more — something no man has ever seen.
You who love money, you who love yourself,
You who love bitterness, and I who loved
and lost and thought I could not love again,
And all the people of this little town,
Rise up! The loves we had were not enough.
Something is loosed to change the shaken world,
And with it we must change!