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1 " A man's death makes everything certain about him. Of course, secrets may die with him. And of course, a hundred years later somebody looking through some papers may discover a fact which throws a totally different light on his life and of which all the people who attended his funeral were ignorant. Death changes the facts qualitatively but not quantitatively. One does not know more facts about a man because he is dead. But what one already knows hardens and becomes definite. We cannot hope for ambiguities to be clarified, we cannot hope for further change, we cannot hope for more. We are now the protagonists and we have to make up our minds. "
― John Berger
2 " Love hurts.Think back over romance novels you’ve loved or the genre-defining books that drive our industry. The most unforgettable stories and characters spring from crushing opposition. What we remember about romance novels is the darkness that drives them. Three hundred pages of folks being happy together makes for a hefty sleeping pill, but three hundred pages of a couple finding a way to be happy in the face of impossible odds makes our hearts soar. In darkness, we are all alone.So don’t just make love, make anguish for your characters. As you structure a story, don’t satisfy your hero’s desires, thwart them. Make sure your solutions create new problems. Nurture your characters doubts and despair. Make them earn the happy ending they want, even better…make them deserve it. Delay and disappointment charge situations and validate character growth. Misery accompanies love. It’s no accident that many of the stories we think of as timeless romances in Western Literature are fiercely tragic: Romeo and Juliet, Tristan and Isolde, Cupid and Psyche… the pain in them drags us back again and again, hoping that this time we’ll find a way out of the dark.Only if you let your characters get lost will we get lost in them. And that, more than anything else, is what romance can and should do for its protagonists and its readers: lead us through the labyrinth, skirt the monstrous despair roaming its halls, and find our way into daylight. "
― Damon Suede
3 " I think I have a very good idea why it is that anti-Semitism is so tenacious and so protean and so enduring. Christianity and Islam, theistic though they may claim to be, are both based on the fetishizing of human primates: Jesus in one case and Mohammed in the other. Neither of these figures can be called exactly historical but both have one thing in common even in their quasi-mythical dimension. Both of them were first encountered by the Jews. And the Jews, ravenous as they were for any sign of the long-sought Messiah, were not taken in by either of these two pretenders, or not in large numbers or not for long.? I myself certainly hope that it will not. The Jews have seen through Jesus and Mohammed. In retrospect, many of them have also seen through the mythical, primitive, and cruel figures of Abraham and Moses. Nearer to our own time, in the bitter combats over the work of Marx and Freud and Einstein, Jewish participants and protagonists have not been the least noticeable. May this always be the case, whenever any human primate sets up, or is set up by others, as a Messiah. "
4 " Many fervent Christians who are moved by the Passion and death of Christ on the Cross no longer have the strength to weep or to utter a cry of pain to the priests and bishops who make their appearance as entertainers and set themselves up as the main protagonists of the Eucharist. These believers tell us nevertheless: " We do not want to gather with men around a man! We want to see Jesus! Show him to us in the silence and humility of your prayer! "
5 " We are all protagonists, each and every one of us. "
― , The Darkest Light
6 " There were adventure stories supplied with cloths for mopping your brow, thrillers containing pressed leaves of soothing valerian to be sniffed when the suspense became too great, and books with stout locks sealed by the Atlantean censorship authorities (" Sale permitted, reading prohibited!" ). One shop sold nothing but 'half' works that broke off in the middle because their author had died while writing them; another specialised in novels whose protagonists were insects. I also saw a Wolperting shop that sold nothing but books on chess and another patronised exclusively by dwarfs with blond beards, all of whom wore eye-shades. "
7 " From the cave to the skyscraper, from the club to weapons of mass destruction, from the tautological life of the tribe to the era of globalization, the fictions of literature have multiplied human experiences, preventing us from succumbing to lethargy, self-absorption, resignation. Nothing has sown so much disquiet, so disturbed our imagination and our desires as the life of lies we add, thanks to literature, to the one we have, so we can be protagonists in the great adventures, the great passions real life will never give us. The lies of literature become truths through us, the readers transformed, infected with longings and, through the fault of fiction, permanently questioning a mediocre reality. Sorcery, when literature offers us the hope of having what we do not have, being what we are not, acceding to that impossible existence where like pagan gods we feel mortal and eternal at the same time, that introduces into our spirits non-conformity and rebellion, which are behind all the heroic deeds that have contributed to the reduction of violence in human relationships. Reducing violence, not ending it. Because ours will always be, fortunately, an unfinished story. That is why we have to continue dreaming, reading, and writing, the most effective way we have found to alleviate our mortal condition, to defeat the corrosion of time, and to transform the impossible into possibility. "
― Mario Vargas Llosa
8 " What I wanted was for them to have a grand, sweeping narrative that they deserved, the kind of American history that belongs to the Wright Brothers and the astronauts, to Alexander Hamilton and Martin Luther King Jr. Not told as a separate history, but as part of the story we all know. Not at the margins, but at the very center, the protagonists of the drama. And not just because they are black, or because they are women, but because they are part of the American epic. "
― Margot Lee Shetterly, , Hidden Figures
9 " Join hands with other protagonists of love and peace and become a love commander. "
10 " My father used to say that all protagonists were versions of the author who wrote them—even if it meant the author had to acknowledge a side of himself that he did not know existed. It just required courage. "
― Catherine Lowell , The Madwoman Upstairs
11 " I would agree with your statement that many of my protagonists are outsiders. I wonder if we all are, and even people who don't think they are, and they're just better at masking it. When we shut our bedroom door at night, however well-integrated we think we are with the rest of society, maybe there's something illusory about that... "
― David Mitchell
12 " We may think of ourselves as static anti-heroes, but in reality we're dynamic protagonists just waiting for our courage to kick in. "
― Justin Alcala
13 " And against whom is this censorship directed? By way of answer, think back to the big subcultural debates of 2011 – debates about how gritty fantasy isn’t really fantasy; how epic fantasy written from the female gaze isn’t really fantasy; how women should stop complaining about sexism in comics because clearly, they just hate comics; how trying to incorporate non-Eurocentric settings into fantasy is just political correctness gone wrong and a betrayal of the genre’s origins; how anyone who finds the portrayal of women and relationships in YA novels problematic really just wants to hate on the choices of female authors and readers; how aspiring authors and bloggers shouldn’t post negative reviews online, because it could hurt their careers; how there’s no homophobia in publishing houses, so the lack of gay YA protagonists can only be because the manuscripts that feature them are bad; how there’s nothing problematic about lots of pretty dead girls on YA covers; how there’s nothing wrong with SF getting called ‘dystopia’ when it’s marketed to teenage girls, because girls don’t read SF. Most these issues relate to fear of change in the genre, and to deeper social problems like sexism and racism; but they are also about criticism, and the freedom of readers, bloggers and authors alike to critique SFF and YA novels without a backlash that declares them heretical for doing so.It’s not enough any more to tiptoe around the issues that matter, refusing to name the works we think are problematic for fear of being ostracized. We need to get over this crushing obsession with niceness – that all fans must act nicely, that all authors must be nice to each other, that everyone must be nice about everything even when it goes against our principles – because it’s not helping us grow, or be taken seriously, or do anything other than throw a series of floral bedspreads over each new room-hogging elephant.We, all of us, need to get critical.Blog post: Criticism in SFF and YA "
― Foz Meadows
14 " It does not matter what kind of self-destruction you choose – as if the protagonists in Furmani – Sokolov let say conscious of inevitability of their ontological and eschatological destiny, which they by no means want to change, but they accept it with joy of their own and peculiar optimism. Someone buries herself/himself in the library, and someone in a suburban tavern – they would say – the result is the same. The starting point is always that of futility, and the ultimate goal is destruction, which leads to self-destruction of all that restrains them from the total immersion in their own suffering and the pain of their own existence. "
― Ivo Žurić
15 " Today, women have as much of a place as protagonists and antagonist as men. "
― JP Wolfe
16 " This is not the " relativism of truth" presented by journalistic takes on postmodernism. Rather, the ironist's cage is a state of irony by way of powerlessness and inactivity: In a world where terrorism makes cultural relativism harder and harder to defend against its critics, marauding international corporations follow fair-trade practices, increasing right-wing demagoguery and violence can't be answered in kind, and the first black U.S. president turns out to lean right of center, the intelligentsia can see no clear path of action. Irony dominates as a " mockery of the promise and fitness of things," to return to the OED definition of irony.This thinking is appropriate to Wes Anderson, whose central characters are so deeply locked in ironist cages that his films become two-hour documents of them rattling their ironist bars. Without the irony dilemma Roth describes, we would find it hard to explain figures like Max Fischer, Steve Zissou, Royal Tenenbaum, Mr. Fox, and Peter Whitman. I'm not speaking here of specific political beliefs. The characters in question aren't liberals; they may in fact, along with Anderson himself, have no particular political or philosophical interests. But they are certainly involved in a frustrated and digressive kind of irony that suggests a certain political situation. Though intensely self-absorbed and central to their films, Anderson's protagonists are neither heroes nor antiheroes. These characters are not lovable eccentrics. They are not flawed protagonists either, but are driven at least as much by their unsavory characteristics as by any moral sense. They aren't flawed figures who try to do the right thing; they don't necessarily learn from their mistakes; and we aren't asked to like them in spite of their obvious faults. Though they usually aren't interested in making good, they do set themselves some kind of mission--Anderson's films are mostly quest movies in an age that no longer believes in quests, and this gives them both an old-fashioned flavor and an air of disillusionment and futility. "
17 " On the other hand, it is also characteristic of the state of philosophical inquiry today and has been for a long time that, while there has been extensive controversy about whether or not the *a priori* can be known, it has never occurred to the protagonists to ask first what could really have been meant by the fact that a time-determination turns up here and why it must turn up at all. To be sure, as long as we orient ourselves toward the common concept of time we are at an impasse, and negatively it is no less than consistent to deny dogmatically that the *a priori* has anything to do with time. However, time in the sense commonly understood, which is our topic here, is indeed only one derivative, even if legitimate, of the original time, on which the Dasein's ontological constitution is based. *It is only by means of the Temporality of the understanding of Being that it can be explained why the ontological determinations of Being have the character of apriority*. We shall attempt to sketch this briefly, as far as it permits of being done along general lines.We have just seen that all comportment toward beings already understands Being, and not just incidentally: Being must necessarily be understood precursorily (pre-cecently). The possibility of comportment toward beings demands a precursory understanding of Being, and the possibility of the understanding of Being demands in its turn a precursory projection upon time. But where is the final stage of this demand for ever further precursory conditions? It is temporality itself as the basic constitution of the Dasein. Temporality, due to its horizonal-ecstatic nature, makes possible *at once* the understanding of Being and comportment toward beings; therefore, that which does the enabling as well as the enablings themselves, that is, the possibilities in the Kantian sense, are " temporal," that is to say, Temporal, in their specific interconnection. Because the original determinant of possibility, the origin of possibility itself, is time, time temporalizes itself as the absolutely earliest. *Time is earlier than any possible earlier* of whatever sort, because it is the basic condition for an earlier as such. And because time as the source of all enablings (possibilities) is the earliest, all possibilities as such in their possibility-making function have the character of the earlier. That is to say, they are *a priori*. But, from the fact that time is the earliest in the sense of being the possibility of every earlier and of every *a priori* foundational ordering, it does not follow that time is ontically the first being; nor does it follow that time is forever and eternal, quite apart from the impropriety of calling time a being at all.” ―from_The Basic Problems of Phenomenology_ "
18 " In the history of enterprise most of the protagonists of major new products and companies began their education - not in the classroom where the old ways are taught but in the factories and labs where new ways are wrought ... nothing has been so rare in recent years as an Ivy League graduate who has made a significant innovation in American enterprise. "
19 " The Internet is the hope of an integrated world without frontiers, a common world without controlling owners, a world of opportunities and equality. This is a utopia that we have been dreaming about and is a world in which each and every one of us are protagonists of a destiny that we have in our hands. "
20 " An ambitious, surreal tale of the love between a young Arab girl sold into marriage and the orphan boy she adopts, 'Habibi' spans multiple eras of conflict and change, stretching the lifetimes of its two protagonists over many centuries. "
