1
" Thanks to my mother, I was raised to have a morbid imagination. When I was a child, she often talked about death as warning, as an unavoidable matter of fact. Little Debbie's mom down the block might say, 'Honey, look both ways before crossing the street.' My mother's version: 'You don't look, you get smash flat like sand dab.' (Sand dabs were the cheap fish we bought live in the market, distinguished in my mind by their two eyes affixed on one side of their woebegone cartoon faces.)
The warnings grew worse, depending on the danger at hand. Sex education, for example, consisted of the following advice: 'Don't ever let boy kiss you. You do, you can't stop. Then you have baby. You put baby in garbage can. Police find you, put you in jail, then you life over, better just kill youself. "
― Amy Tan , The Opposite of Fate: Memories of a Writing Life
2
" Nell did not imagine that Constable Moore wanted to get into a detailed discussion of recent events, so she changed the subject. " I think I have finally worked out what you were trying to tell me, years ago, about being intelligent," she said.The Constable brightened all at once. " Pleased to hear it." The Vickys have an elaborate code of morals and conduct. It grew out of the moral squalor of an earlier generation, just as the original Victorians were preceded by the Georgians and the Regency. The old guard believe in that code because they came to it the hard way. They raise their children to believe in that code– but their children believe it for entirely different reasons." They believe it," the Constable said, " because they have been indoctrinated to believe it." Yes. Some of them never challenge it– they grow up to be smallminded people, who can tell you what they believe but not why they believe it. Others become disillusioned by the hypocrisy of the society and rebel– as did Elizabeth Finkle-McGraw." Which path do you intend to take, Nell?" said the Constable, sounding very interested. " Conformity or rebellion?" Neither one. Both ways are simple-minded– they are only for people who cannot cope with contradiction and ambiguity. "
6
" Or can it be thought that they who heap up an useless mass of wealth, not for any use that it is to bring them, but merely to please themselves with the contemplation of it, enjoy any true pleasure in it? The delight they find is only a false shadow of joy. Those are no better whose error is somewhat different from the former, and who hide it, out of their fear of losing it; for what other name can fit the hiding it in the earth, or rather the restoring to it again, it being thus cut off from being useful, either to its owner or to the rest of mankind? And yet the owner having hid it carefully, is glad, because he thinks he is now sure of it. It if should be stole, the owner, though he might live perhaps ten years after the theft, of which he knew nothing, would find no difference between his having or losing it; for both ways it was equally useless to him. "
― Thomas More , Utopia
9
" Thus there is need of deeper reflection. Before entering into an examination of individual texts, we must direct our attention to the whole picture, the question of structure. Only in this way can a meaningful arrangement of individual elements be obtained. Is there any place at all for something like Mariology in Holy Scripture, in the overall pattern of its faith and prayer? Methodologically, one can approach this question in one of two ways, backwards or forwards, so to speak: either one can read back from the New Testament into the Old or, conversely, feel one’s way slowly from the Old Testament into the New. Ideally both ways should coincide, permeating one another, in order to produce the most exact image possible. If one begins by reading backwards or, more precisely, from the end to the beginning, it becomes obvious that the image of Mary in the New Testament is woven entirely of Old Testament threads. In this reading, two or even three major strands of tradition can be clearly distinguished which were used to express the mystery of Mary. First, the portrait of Mary includes the likeness of the great mothers of the Old Testament: Sarah and especially Hannah, the mother of Samuel. Second, into that portrait is woven the whole theology of daughter Zion, in which, above all, the prophets announced the mystery of election and covenant, the mystery of God’s love for Israel. A third strand can perhaps be identified in the Gospel of John: the figure of Eve, the “woman” par excellence, is borrowed to interpret Mary. "
― Benedict XVI