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criticized  QUOTES

27 " HOW TO DRIVE A WRITER CRAZY“1. When he starts to outline a story, immediately give him several stories just like it to read and tell him three other plots. This makes his own story and his feeling for it vanish in a cloud of disrelated facts." 2. When he outlines a character, read excerpts from stories about such characters, saying that this will clarify the writer's ideas. As this causes him to lose touch with the identity he felt in his character by robbing him of individuality, he is certain to back away from ever touching such a character." 3. Whenever the writer proposes a story, always mention that his rate, being higher than other rates of writers in the book, puts up a bar to his stories." 4. When a rumor has stated that a writer is a fast producer, invariably confront him with the fact with great disapproval, as it is, of course, unnatural for one human being to think faster than another." 5. Always correlate production and rate, saying that it is necessary for the writer to do better stories than the average for him to get any consideration whatever." 6. It is a good thing to mention any error in a story bought, especially when that error is to be editorially corrected, as this makes the writer feel that he is being criticized behind his back and he wonders just how many other things are wrong." 7. Never fail to warn a writer not to be mechanical, as this automatically suggests to him that his stories are mechanical and, as he considers this a crime, wonders how much of his technique shows through and instantly goes to much trouble to bury mechanics very deep—which will result in laying the mechanics bare to the eye." 8. Never fail to mention and then discuss budget problems with a writer, as he is very interested." 9. By showing his vast knowledge of a field, an editor can almost always frighten a writer into mental paralysis, especially on subjects where nothing is known anyway." 10. Always tell a writer plot tricks, as they are not his business. "

28 " The central thesis of Surnaturel, then, is that, neither in patristic nor in medieval theology, and certainly not in Thomas Aquinas, was the hypothesis ever entertained of a purely natural destiny for human beings, something other than the supernatural and eschatological vision of God. There is only this world, the world in which our nature has been created for a supernatural destiny. Historically, there never was a graceless nature, or a world outside the Christian dispensation. This traditional conception of human nature as always destined for grace-given union with God fell apart between attempts, on the one hand, to secure the sheer gratuitousness of the economy of grace over against the naturalist anthropologies of Renaissance humanism and, on the other hand, resistance to what was perceived by Counter-Reformation Catholics as the Protestant doctrine of the total corruption of human nature by original sin. The Catholic theologians, who sought to protect the supernatural by separating it conceptually from the natural, facilitated the development of the humanism which flowered at the Enlightenment into deism, agnosticism and ultimately atheism. The conception of the autonomous individual for which the philosophers of the Age of Reason were most bitterly criticized by devout Catholics was, de Lubac suggested, invented by Catholic theologians. The philosophers which broke free of Christianity, to develop their own naturalist and deist theologies, had their roots in the anti-Protestant and anti-Renaissance Catholic Scholasticism of the late sixteenth and early seventeenth centuries. "

33 " Ella finds this story inside herself: A woman, loved by a man who criticizes her throughout their long relationship for being unfaithful to him and for longing for the social life which his jealousy bars her from and for being ‘a career woman’. This woman who, throughout the five years of their affair in fact never looks at another man, never goes out, and neglects her career becomes everything he has criticized her for being at that moment when he drops her. She becomes promiscuous, lives only for parties and is ruthless about her career, sacrificing her men and her friends for it. The point of the story is that this new personality has been created by him; and that everything she does — sexual acts, acts of betrayal for the sake of her career, etc., are with the revengeful thought: There, that’s what you wanted, that’s what you wanted me to be. And, meeting this man again after an interval, when her new personality is firmly established, he falls in love with her again. This is what he always wanted her to be; and the reason why he left her was in fact because she was quiet, compliant and faithful. But now, when he falls in love with her again, she rejects him and in bitter contempt: what she is now is not what she ‘really’ is. He has rejected her ‘real’ self. He has betrayed a real love and now loves a counterfeit. When she rejects him, she is preserving her real self, whom he has betrayed and rejected.
Ella does not write this story. She is afraid that writing it might make it come true. "

Doris Lessing , The Golden Notebook