43
" But in Hebrew scripture David is not just the “sweet singer of Israel,” the chiseled poet who plays a harp and composes the Psalms. After he makes his name by killing Goliath, David recruits a gang of guerrillas, extorts wealth from his fellow citizens at swordpoint, and fights as a mercenary for the Philistines. These achievements make Saul jealous: the women in his court are singing, “Saul has killed by the thousands, but David by the tens of thousands.” So Saul plots to have him assassinated.19 David narrowly escapes before staging a successful coup. When David becomes king, he keeps up his hard-earned reputation for killing by the tens of thousands. After his general Joab “wasted the country of the children of Ammon,” David “brought out the people that were in it, and cut them with saws, and with harrows of iron, and with axes.” 20 Finally he manages to do something that God considers immoral: he orders a census. To punish David for this lapse, God kills seventy thousand of his citizens. "
― Steven Pinker , The Better Angels of Our Nature: Why Violence Has Declined
52
" Hallelujah can barely breathe through the pain of each step. Rachel is panting from the effort of holding Hallelujah up. Still, when they get closer to the clearing, Rachel manages to call out: “Jonah! Help!”
There’s a rustling noise up ahead. Twigs snapping. And then Jonah appears. His face is in shadow, but his voice is worried: “What happened?”
“I turned my ankle,” Hallelujah says. “I’m okay.”
“She’s not okay,” Rachel gasps. “She can’t put weight on it. Can you carry her?”
Jonah doesn’t hesitate. He wraps one arm around Hallelujah’s waist, and then he scoops up her legs with the other. In a single, fluid motion, she’s off the ground. She holds on to his shoulders. For a second, she thinks about how strange this is—to be held like this, to be held by Jonah. "
― Kathryn Holmes
54
" In the face of an obstacle which it is impossible to overcome, stubbornness is stupid. If I persist in beating my fist against a stone wall, my freedom exhausts itself in this useless gesture without succeeding in giving itself a content. It debases itself in a vain contingency. Yet, there is hardly a sadder virtue than resignation. It transforms into phantoms and contingent reveries projects which had at the beginning been set up as will and freedom. A young man has hoped for a happy or useful or glorious life. If the man he has become looks upon these miscarried attempts of his adolescence with disillusioned indifference, there they are, forever frozen in the dead past. When an effort fails, one declares bitterly that he has lost time and wasted his powers. The failure condemns that whole part of ourselves which we had engaged in the effort. It was to escape this dilemma that the Stoics preached indifference. We could indeed assert our freedom against all constraint if we agreed to renounce the particularity of our projects. If a door refuses to open, let us accept not opening it and there we are free. But by doing that, one manages only to save an abstract notion of freedom. It is emptied of all content and all truth. The power of man ceases to be limited because it is annulled. It is the particularity of the project which determines the limitation of the power, but it is also what gives the project its content and permits it to be set up. There are people who are filled with such horror at the idea of a defeat that they keep themselves from ever doing anything. But no one would dream of considering this gloomy passivity as the triumph of freedom "
― Simone de Beauvoir , The Ethics of Ambiguity
55
" our situation reminded me of a fable I had read somewhere. Chased by a tiger, a man slips and falls over the edge of a mountain. As he falls, he manages to grab a bush growing by the side of the mountain and hangs on to it for dear life. The bush is laden with wild strawberries that hang tantalizingly near his mouth. As the tiger snarls above his head and a gorge stretches beneath his dangling feet, the man takes a bite from a luscious berry. ‘How sweet,’ he exclaims as he relishes its taste.
I do not remember the moral attached to the fable. It might have been a commentary on the ephemeral nature of life, on how foolish it is to imagine that there is happiness to be found in the world when death is certain and likely to happen at any time. Or it might have been an exhortation to seize the day and squeeze the most out of every moment, for, in any case, we are
all going to die. It might have made a reasonably good ad for strawberries, which were so good that you simply had to eat them, even if it was the last thing you did. "
― Indu Muralidharan , The Reengineers
57
" A man spent hours watching a butterfly struggling to emerge from its cocoon. It managed to make a small hole, but its body was too large to get through it. After a long struggle, it appeared to be exhausted and remained absolutely still.
The man decided to help the butterfly and, with a pair of scissors, he cut open the cocoon, thus releasing the butterfly. However, the butterfly’s body was very small and wrinkled and its wings were all crumpled.
The man continued to watch, hoping that, at any moment, the butterfly would open its wings and fly away. Nothing happened; in fact, the butterfly spent the rest of its brief life dragging around its shrunken body and shrivelled wings, incapable of flight.
What the man – out of kindness and his eagerness to help – had failed to understand was that the tight cocoon and the efforts that the butterfly had to make in order to squeeze out of that tiny hole were Nature’s way of training the butterfly and of strengthening its wings.
Sometimes, a little extra effort is precisely what prepares us for the next obstacle to be faced. Anyone who refuses to make that effort, or gets the wrong sort of help, is left unprepared to fight the next battle and never manages to fly off to their destiny. "
― Paulo Coelho
59
" Another unary photograph is the pornographic photograph (I am not saying the erotic photograph: the erotic is a pornographic that has been disturbed, fissured). Nothing more homogeneous than a pornographic photograph. It is always a naive photograph, without intention and without calculation. Like a shop window which shows only one illuminated piece of jewelry, it is completely constituted by the presentation of only one thing: sex: no secondary, untimely object ever manages to half conceal, delay, or distract... A proof a contrario: Mapplethorpe shifts his close-ups of genitalia from the pornographic to the erotic by photographing the fabric of underwear at very close range: the photograph is no longer unary, since I am interested in the texture of the material.
The presence (the dynamics) of this blind field is, I believe, what distinguishes the erotic photograph from the pornographic photograph. Pornography ordinarily represents the sexual organs, making them into a motionless object (a fetish), flattered like an idol that does not leave its niche; for me, there is no punctum in the pornographic image; at most it amuses me (and even then, boredom follows quickly). The erotic photograph, on the contrary (and this is its very condition), does not make the sexual organs into a central object; it may very well not show them at all; it takes the spectator outside its frame, and it is there that I animate this photograph and that it animates me. "
― Roland Barthes , Camera Lucida: Reflections on Photography
