4
" The guillotine is the ultimate expression of Law, and its name is vengeance; it is not neutral, nor does it allow us to remain neutral. All social questions achieve their finality around that blade. The scaffold is an image. It is not merely a framework, a machine, a lifeless mechanism of wood, iron, and rope. It is as though it were a being having its own dark purpose, as though the framework saw, the machine listened, and the mechanism understood; as though that arrangement of wood and iron and rope expressed a will. In the hideous picture which its presence evokes it seems to be most terribly a part of what it does. It is the executioner's accomplice; it consumes, devouring flesh and drinking blood. It is a kind of monster created by the judge and the craftsman; a spectre seeming to live an awful life born of the death it deals. "
― Victor Hugo , Les Misérables
9
" First of all, you must never speak of anything by its name -- in that country. So, if you see a tree on a mountain, it will be better to say 'Look at the green on the high'; for that's how they talk -- in that country. And whatever you do, you must find a false reason for doing it -- in that country. If you rob a man, you must say it is to help and protect him: that's the ethics -- of that country. And everything of value has no value at all -- in that country. You must be perfectly commonplace if you want to be a genius -- in that country. And everything you like you must pretend not to like; and anything that is there you must pretend is not there -- in that country. And you must always say that you are sacrificing yourself in the cause of religion, and morality, and humanity, and liberty, and progress, when you want to cheat your neighbour -- in that country." Good heavens!" cried Iliel, 'are we going to England? "
10
" Once upon a time, before the boys were killed and when there were more horses than cars, before the male servants disappeared and they made do, at Upleigh and at Beechwood, with just a cook and a maid, the Sheringhams had owned not just four horses in their own stable, but what might be called a 'real horse', a racehorse, a thoroughbred. Its name was Fandango. It was stabled near Newbury. It had never won a damn thing. But is was the family's indulgence, their hope for fame and glory on the racecourses of southern England. The deal was that Pa and Ma - otherwise known in his strange language as 'the shower' - owned the head and body and he and Dick and Freddy had a leg each.
'What about the fourth leg?'
'Oh the fourth leg. That was always the question. "
― Graham Swift , Mothering Sunday
17
" Excerpt from Ursula K Le Guin's speech at National Book Awards
Hard times are coming, when we’ll be wanting the voices of writers who can see alternatives to how we live now, can see through our fear-stricken society and its obsessive technologies to other ways of being, and even imagine real grounds for hope. We’ll need writers who can remember freedom – poets, visionaries – realists of a larger reality.
Right now, we need writers who know the difference between production of a market commodity and the practice of an art. Developing written material to suit sales strategies in order to maximise corporate profit and advertising revenue is not the same thing as responsible book publishing or authorship.
Yet I see sales departments given control over editorial. I see my own publishers, in a silly panic of ignorance and greed, charging public libraries for an e-book six or seven times more than they charge customers. We just saw a profiteer try to punish a publisher for disobedience, and writers threatened by corporate fatwa. And I see a lot of us, the producers, who write the books and make the books, accepting this – letting commodity profiteers sell us like deodorant, and tell us what to publish, what to write.
Books aren’t just commodities; the profit motive is often in conflict with the aims of art. We live in capitalism, its power seems inescapable – but then, so did the divine right of kings. Any human power can be resisted and changed by human beings. Resistance and change often begin in art. Very often in our art, the art of words.
I’ve had a long career as a writer, and a good one, in good company. Here at the end of it, I don’t want to watch American literature get sold down the river. We who live by writing and publishing want and should demand our fair share of the proceeds; but the name of our beautiful reward isn’t profit. Its name is freedom. "
― Ursula K. Le Guin
20
" There lies another power in man. That power is Moral: Its name is CHOICE! Within this one word, Choice, lies the story of man’s world. It stands for the secret poise within him. It reveals as a flashlight all his imagings, his phantasies, his willful thoughts, his deeds, from the greatest to the least, even in this gliding hour we call today. This one word, Choice, stands for the sole and single power; it is the name of the mystery that lies behind the veil of all human appearances. A word that dissolves the enigma of men’s deeds. A word, a light that not only illuminates all his obvious works, all the inner springs and motives of his civilizations, but a light whose rays reach within the sanctuary of the secret thought of each and all, thus revealing the man of the past and the man of today, starkly in personal status as a social factor of beneficence or wore. Need we know man’s thoughts? View his works, his deeds; they tell his choice. "