122
" So they went out for a walk. They went through narrow, lightless lanes, where houses that were silent but gave out smells of fish and boiled rice stood on either side of the road. There was not a single tree in sight; no breeze and no sound but the vaguely musical humming of mosquitoes. Once, an ancient taxi wheezed past, taking a short-cut through the lane into the main road, like a comic vintage car passing through a film-set showing the Twenties into the film-set of the present, passing from black and white into colour. But why did these houses – for instance, that one with the tall, ornate iron gates and a watchman dozing on a stool, which gave the impression that the family had valuables locked away inside, or that other one with the small porch and the painted door, which gave the impression that whenever there was a feast or a wedding all the relatives would be invited, and there would be so many relatives that some of them, probably the young men and women, would be sitting bunched together on the cramped porch because there would be no more space inside, talking eloquently about something that didn’t really require eloquence, laughing uproariously at a joke that wasn’t really very funny, or this next house with an old man relaxing in his easy-chair on the verandah, fanning himself with a local Sunday newspaper, or this small, shabby house with the girl Sandeep glimpsed through a window, sitting in a bare, ill-furnished room, memorising a text by candlelight, repeating suffixes and prefixes from a Bengali grammar over and over to herself – why did these houses seem to suggest that an infinitely interesting story might be woven around them? And yet the story would never be a satisfying one, because the writer, like Sandeep, would be too caught up in jotting down the irrelevances and digressions that make up lives, and the life of a city, rather than a good story – till the reader would shout " Come to the point!" – and there would be no point, except the girl memorising the rules of grammar, the old man in the easy-chair fanning himself, and the house with the small, empty porch which was crowded, paradoxically, with many memories and possibilities. The " real" story, with its beginning, middle and conclusion, would never be told, because it did not exist. "
127
" Take the example of our spinner. We have seen that, to daily reproduce his labouring power, he must daily reproduce a value of three shillings, which he will do by working six hours daily. But this does not disable him from working ten or twelve or more hours a day. But by paying the daily or weekly value of the spinner's labouring power the capitalist has acquired the right of using that labouring power during the whole day or week. He will, therefore, make him work say, daily, twelve hours. Over and above the six hours required to replace his wages, or the value of his labouring power, he will, therefore, have to work six other hours, which I shall call hours of surplus labour, which surplus labour will realize itself in a surplus value and a surplus produce. If our spinner, for example, by his daily labour of six hours, added three shillings' value to the cotton, a value forming an exact equivalent to his wages, he will, in twelce hours, add six shillings' worth to the cotton, and produce a proportional surplus of yarn. As he has sold his labouring power to the capitalist, the whole value of produce created by him belongs to the capitalist, the owner pro tem. of his labouring power. By advancing three shillings, the capitalist will, therefore, realize a value of six shillings, because, advancing a value in which six hours of labour are crystallized. By repeating this same process daily, the capitalist will daily advance three shillings and daily pocket six shillings, one half of which will go to pay wages anew, and the other half of which will form surplus value, for which the capitalist pays no equivalent. It is this sort of exchange between capital and labour upon which capitalistic production, or the wages system, is founded, and which must constantly result in reproducing the working man as a working man, and the capitalist as a capitalist. "
― Karl Marx , Wage-Labour and Capital/Value, Price and Profit
129
" For anyone who thinks " profit" is evil, I have a challenge for you: try NOT to get any profit in the next week. Profit simply means increasing how much valuable stuff you have, and if you don't profit, you die. Literally. For example, don't buy any food for a week, because when you buy food (or anything), it's because you value the food MORE than you value the money you trade for it. If you didn't, you wouldn't make the trade. So you PROFIT (and so does the seller) every time you buy something. And every time you sell something, or work for money, etc. So before condemning " profit" (or " greed" or " selfishness," for that matter), see if you can survive without it. Then stop repeating vague collectivist BS, and learn to distinguish between " win/win" events (voluntary exchange) where BOTH sides profit, and " win/lose" events, where one side benefits by harming the other side. By the way, " government" is ALWAYS the latter. "
131
" Again, Syd had that feeling, the past as an echo, repeating itself as it faded. The poor had longed for Jubilee to save them from the powerful, and now the one-time patrons longed for the Machine to do the same. Every revolution believes it can return something that had been lost, but nothing is ever the same. The only thing that endures are people. Syd saw that clearly now, and perhaps so too did Marie. You could serve a revolution, an idea that ended up an echo if itself, or you could serve people, with their maddening contradictions. You couldn't serve both. You had to choose. "
― Alex London , Guardian (Proxy, #2)
140
" I loved your eyes first,” I told him , repeating his words from a few weeks ago back to him, because it was true, and because we were two halves of a whole—we had been all along, and he’d been so clever to know it right away. I used to think it was insanity, but now I was beginning to think that it was pure brilliance. “I see it, too, James. I see the other half of my soul in you. "
― R.K. Lilley , Grounded (Up in the Air, #3)
