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" The Islamic revolution in Iran is a positive development.At the same time, the Islamic revolution of Afghanistan, sprung exclusively fromspiritual roots, dealt a heavy blow to the communist regime in the former Soviet Union. In face of that revolution, the red Soviet empire had to concede that it is incapable, in spite of its military superiority, to defeat the Mujaheddin, whose main weapons were their right and their spiritual strength.Another quite new situation appeared as a consequence of the Islamic revolution in Iran, that destroyed the Zionist rule in that country and shook its foundations in that part of the world. Khomeini's letter to Gorbachev, in which he was inviting the latter to convert to Islam, had great symbolic power! What is new again is the movement of Islamic rebirth and the continuous decay of the strength of the colonial government bodies directed from afar by Israel in many Islamic countries." " The Islamic system has remained stable in Iran even after the death of Khomeini and the change in the person of the leader and of the leadership group the only one to remain stable in the entire Islamic world.On the contrary, the demise of the Shah meant at the same time the collapse of hisregime, his artificial form of government, and his army. All that went to the dust-bin ofhistory. The same fate awaits the other regimes that prevail in the muslim world. Israel knows that very well. She tries desperately to cause the wheel of history to stand still. However, any strike against Iran or against the growing Islamic movements, will cause the anger of the muslim masses to grow, and the fire of the Islamic revolution to ignite. Nobody will be able to suppress that revolution. "
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" When I was young, I had to choose between the life of being and the life of doing. And I leapt at the latter like a trout to a fly. But each deed you do, each act, binds you to itself and to its consequences, and makes you act again and yet again. Then very seldom do you come upon a space, a time like this, between act and act, when you may stop and simply be. Or wonder who, after all, you are. "
― Ursula K. Le Guin , The Farthest Shore (Earthsea Cycle, #3)
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" Outside of the dreary rubbish that is churned out by god knows how many hacks of varying degrees of talent, the novel is, it seems to me, a very special and rarefied kind of literary form, and was, for a brief moment only, wide-ranging in its sociocultural influence. For the most part, it has always been an acquired taste and it asks a good deal from its audience. Our great contemporary problem is in separating that which is really serious from that which is either frivolously and fashionably " radical" and that which is a kind of literary analogy to the Letterman show. It's not that there is pop culture around, it's that so few people can see the difference between it and high culture, if you will. Morton Feldman is not Stephen Sondheim. The latter is a wonderful what-he-is, but he is not what-he-is-not. To pretend that he is is to insult Feldman and embarrass Sondheim, to enact a process of homogenization that is something like pretending that David Mamet, say, breathes the same air as Samuel Beckett. People used to understand that there is, at any given time, a handful of superb writers or painters or whatever--and then there are all the rest. Nothing wrong with that. But it now makes people very uncomfortable, very edgy, as if the very idea of a Matisse or a Charles Ives or a Thelonious Monk is an affront to the notion of " ain't everything just great!" We have the spectacle of perfectly nice, respectable, harmless writers, etc., being accorded the status of important artists...Essentially the serious novelist should do what s/he can do and simply forgo the idea of a substantial audience. "
