Sam Peppiatt writes of the artist Francis Bacon: “We don’t really know why we’re here, that we invent our purposes, that we invent our drives and aims. And then, suddenly, we’re gone.” (Francis Bacon in Your Blood, Sam Peppiatt.)
They know a million tricks, those novelists. Appeals to the base lusts that hide in everyone no matter how respectable on the surface. Yes, the novelist knows humanity, how worthless they are, ruled by their testicles, swayed by cowardice, selling out every cause because of their greed. (From Philip K. Dick’s The Man in the High Castle)
Two things are certain: 1) people no longer care what happens to other people; and 2) nothing makes any real difference any longer.
We have made our decisions, our lives have been set in motion, and they will go on and on until they stop. (From Raymond Carver’s So Much Water Close to Home)
Anyone who has common sense will remember that the bewilderment of the eyes are of two kinds and arise from two causes, either from coming out of the the light or from going into the light, which is true of the mid’s eye, quite as much as the bodily eye.
And he who remembers this when he sees anyone whose vision is perplexed and weak will not be too ready to laugh. He will first ask whether that the soul of man has come out of the brighter life and is unable to see because, unaccustomed to the dark or having turned from the darkness to the day, is dazzled by the excess of light.
And he will count the one happy in his condition and state of being, and he will pity the other. Or, if he have a mind to laugh at the soul which comes from below into the light, there will be more reason in this than in the laugh which greets him who returns from above out of the light into the den. (From Plato’s The Allegory of the Cave)
Born François Claudius Koenigstein, Ravachol was a French anarchist, twice found guilty of bombings and guillotined in 1892. His name was used as slang for troublemakers during Franz Kafka’s childhood and was applied to Kafka himself.
“It’s impossible to defend oneself in the absence of goodwill”, Karl said to himself, and he ceased to answer the head waiter, however painful to Therese this might be. He knew that whatever he could say would end up seeming very different from the way it had been intended and that the way they assessed the matter was critical, since it alone would determine the final judgement of good and evil. (166, Amerika, Kafka)
Existing in name only.
Far below real value or cost.
As much as I enjoy the concepts of science fiction writer J.D. Ballard, I find it hard to accept that he was, according to Martin Amis, the “most original English writer of the last century”. His characters and dialogue are wooden throughout his acclaimed The Drowned World:
The Colonel paused at the rail, looking down at the beautiful supple body with ungrudging approval. Noticing him, Beatrice pulled off her sunglasses, then tightened the loose straps of her bikini under her arm. Her eyes glinted quietly. “All right, you two, get on with it. I’m not a strip show.”
However it’s Ballard’s use of similes, on almost every page, constantly and thoughtlessly, comparing a thing to another, that lays the author bare:
...seemed to press down like a translucent pane on the leafy spread, a thousand motes of light spitting like diamonds. (76)
…planting immense dripping sundials like daggers in the fused sand. (77)
…its leaning headstones advancing to their crowns like a party of bathers. (77)
Hardman swung himself like an acrobat down the drain-pipe to the parapet below. (78)
Like a wounded water-buffalo, Hardman continued to wrestle in the mud. (79)
Which is to say J.G. Ballard uses similes like a virus-riddled robot.
Let’s start with the basics. There is no such thing as getting over your fears, any of them. They are ingrained, and that is where they will stay.
Second, and last, there are no revelations. Realization does not come in a flash. That’s just drugs, booze or how you woke up, something that makes you happy for an instant.
Once you accept these two things – fears are there to stay and revelations are nowhere to be found – you have a better than 50/50 shot of making something of your life.
Pacioli based his Divine Proportion on Plato’s Five Bodies, four of which represent the basic elements – cube (earth), octahedron (water), tetrahedron (air) and icosahedreon (fire) – and the last, a dodecahedron, which represented being.
Kepler used the Platonic bodies as his guide for the cosmos as a complete and perfect entity in which we can find our own equilibrium.
Some choice extracts from Viet Thanh Nguyen’s 2015 eloquent novel:
Innocence and guilt. These are cosmic issues. We’re all innocent on one level and guilty on another. Isn’t that what Original Sin is all about? (103)
What if, I said to him, I wrote a screenplay about the American West and simply called all the natives Indians? You’d want to know whether the cavalry was fighting the Navajo or Apache or Comanche, right? Let me tell you a secret, the Auteur said. No one gives a shit (133)
I was suddenly aware of the outline of my body, of the sensation of the chair underneath my thighs, of the fragility of the force holding together y body and my life. It would not take much to destroy this force, which most of us took for granted until the moment we could not. (198)
The beautiful, transparent Stolichnaya maintained a stoic Russian demeanor as we regarded it in silence. Every bottle of alcohol has a message in it, a surprise that one will not discover until one drinks it. (213)
The only problem with not talking to oneself was that oneself was the most fascinating conversational partner one could imagine. Nobody had more patience in listening to oneself than oneself, and nobody knew better than oneself, nobody misunderstood than oneself. (248)