144
" There were people who believed their opportunities to live a fulfilled life were hampered by the number of Asians in England, by the existance of a royal family, by the volume of traffic that passed by their house, by the malice of trade unions, by the power of callous employers, by the refusal of the health service to take their condition seriously, by communism, by capitalism, by atheism, by anything, in fact, but their own futile, weak-minded failure to get a fucking grip. "
― , Revenge (aka The Stars’ Tennis Balls)
148
" 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. "
153
" In good truth he had started in London with some vague idea that as his life in it would not be of long continuance, the pace at which he elected to travel would be of little consequence; but the years since his first entry into the Metropolis were now piled one on top of another, his youth was behind him, his chances of longevity, spite of the way he had striven to injure his constitution, quite as good as ever. He had come to that period of existence, to that narrow strip of tableland, whence the ascent of youth and the descent of age are equally discernible - when, simply because he has lived for so many years, it strikes a man as possible he may have to live for just as many more, with the ability for hard work gone, with the boon companions scattered, with the capacity for enjoying convivial meetings a mere memory, with small means perhaps, with no bright hopes, with the pomp and the circumstance and the fairy carriages, and the glamour which youth flings over earthly objects, faded away like the pageant of yesterday, while the dreary ceremony of living has to be gone through today and tomorrow and the morrow after, as though the gay cavalcade and the martial music, and the glittering helmets and the prancing steeds were still accompanying the wayfarer to his journey's end. Ah! my friends, there comes a moment when we must all leave the coach with its four bright bays, its pleasant outside freight, its cheery company, its guard who blows the horn so merrily through villages and along lonely country roads. Long before we reach that final stage, where the black business claims us for its own speecial property, we have to bid goodbye to all easy, thoughtless journeying and betake ourselves, with what zest we may, to traversing the common of reality. There is no royal road across it that ever I heard of. From the king on his throne to the laborer who vaguely imagines what manner of being a king is, we have all to tramp across that desert at one period of our lives, at all events; and that period is usually when, as I have said, a man starts to find the hopes, and the strength, and the buoyancy of youth left behind, while years and years of life lie stretching out before him. The coach he has travelled by drops him here. There is no appeal, there is no help; therefore, let him take off his hat and wish the new passengers good speed without either envy or repining. Behld, he has had his turn, and let whosoever will, mount on the box-seat of life again, and tip the coachman and handle the ribbons - he shall take that journey no more, no more for ever. (" The Banshee's Warning" ) "
157
" The river of his youth had been diverted and poured out broadly across the land to seep through dirt to the roots of crops instead of running in its bed. The river was no longer a river, and the desert was no longer a desert. Nothing was as it had been.
He knew what had happened to the sagelands. He himself had helped burn them. Then men like his father had seized the river without a trace of evil in their hearts, sure of themselves but ignorant, and children of their time entirely, with no other bearings to rely on. Irrigators and fruit-tree growers, they believed the river to be theirs. His own life spanned that time and this, and so he believed in the old fast river as much as he believed in apple orchards, and yet he saw that the two were at odds, the river defeated that apples might grow as far as Royal Slope. It made no more sense to love the river and at the same time kill it growing apples than it made sense to love small birds on the wing and shoot them over pointing dogs. But he'd come into the world in another time, a time immune to these contradictions and in the end he couldn't shake old ways any more than he could shake his name. "
― David Guterson , East of the Mountains
158
" It is the postscript to the war that offers the most revelatory and startling commentary on Dutugemunu's life. Despite his newfound wealth and his peactime luxuries, Dutugemunu wanders gloomily about his palace, too often remembering the carnage he wrought on the battlefield and worried over the deep karmic deficits he has incurred. The elders of the Sangha, the Buddhist clergy, notice this and send a delegation of eight monks to minister to his anguish.
'In truth, venerable sirs,' Dutugemunu tells the monks when they arrive, 'how can there be comfort to me in that I caused the destruction of a great army of myriads of men?'
'There is no hindrance on the way to heaven because of your acts,' one of the monks assures his king. Slaughtering Tamils is no moral mistake. Only the equivalent of one and a half men died at Dutugemunu's hands, according to the Sangha's official arithmetic, because the Tamils 'were heretical and evil and dies as though they were animals. You will make the Buddha's faith shine in many ways. Therefore, Lord of Men, cast away your mental confusion.'
Being thus exhorted, the great king was comforted; his kill rate would never disturb him again. He does, however, recall that, once upon a breakfast, he ate a red-pepper pod without consciously setting aside a portion of it for the Sangha, as was the royal practice. 'For this,' he decides, 'penance must be done by me.' A hierarchy of sin springs into being, in which dishonouring the Sangha by denying it a due share of a red-pepper pod counts as a graver transgression, worthier of penance, than massacring thousands of Tamils on the battlefield. "
― Samanth Subramanian , This Divided Island: Stories from the Sri Lankan War
