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81 " I'm glad I found you," Kane said quietly, stepping back as Avery stood." I think it was more like me finding you, handsome." For Kane, the sentimental memories were sostrong; all he could do was stand there as they held their babies, thinking about their lives, their future,and his love for Avery." I can't imagine my life without you," Kane proclaimed sweetly." Good. I don't want you to. "
82 " Within he felt that faint stirring of derision for the whole business of life which is the salt of the American mentality. Outwardly they are sentimental and enthusiastic and inwardly they are profoundly cynical. "
― H.G. Wells , The Holy Terror
83 " Postmodern irony and cynicism's become an end in itself, a measure of hip sophistication and literary savvy. Few artists dare to try to talk about ways of working toward redeeming what's wrong, because they'll look sentimental and naive to all the weary ironists. Irony's gone from liberating to enslaving. [.] The postmodern founders' patricidal work was great, but patricide produces orphans, and no amount of revelry can make up for the fact that writers my age have been literary orphans throughout our formative years. "
― David Foster Wallace
84 " Rarely do wonder tales end unhappily. They triumph over death. The tale begins with " Once upon a time" or " Once there was" and never really ends when it ends. The ending is actually the beginning. The once upon a time is not a past designation but futuristic: the timelessness of the tale and its lack of geographical specificity endow it with utopian connotations - " utopia" in its original meaning designated " no place," a place that no one had ever envisaged. We form and keep the utopian kernel of the tale safe in our imaginations with hope.The significance of the paradigmatic functions of the wonder tale is that they facilitate recall for teller and listeners. They enable us to store, remember, and reproduce the utopian spirit of the tale and to change it to fit our experiences and desires, owing to the easily identifiable characters who are associated with particular assignments and settings ...The characters, settings, and motifs are combined and varied according to specific functions to induce wonder, It is this sense of wonder that distinguished the wonder tales from such other oral tales as the legend, the fable, the anecdote, and the myth; it is clearly the sense of wonder that distinguishes the literary fairy tale from the moral story, novella, sentimental tale, and other modern short literary genres. Wonder causes astonishment, and as manifested in a marvelous object or phenomenon, it is often regarded as a supernatural occurrence and can be an omen or a portent, It gives rise to admiration, fear, awe, and reverence. The Oxford Universal Dictionary states that wonder is " the emotion excited by the perception of something novel and unexpected, or inexplicable; astonishment mingled with perplexity or bewildered curiosity." In the oral wonder tale, we are to wonder about the workings of the universe, where anything can happen at any time, and these happy or fortuitous events are never to be explained. Nor do the characters demand an explanation - they are opportunistic, are encouraged to be so, and if they do not take advantage of the opportunity that will benefit them in their relations with others, they are either dumb or mean-spirited. The tales seek to awaken our regard for the miraculous condition of life and to evoke in a religious sense profound feelings of awe and respect for life as a miraculous process, which can be altered and changed to compensate for the lack of power, wealth, and pleasure that is most people's lot. Lack, deprivation, prohibition, and interdiction motivate people to look for signs of fulfillment and emancipation. In the wonder tales, those who are naive and simple are able to succeed because they are untainted and can recognize the wondrous signs. They have retained their belief in the miraculous condition of nature, revere nature in all its aspects. They have hot been spoiled by conventionalism, power, or rationalism. In contrast to the humble characters, the villains are those who use words intentionally to exploit, control, transfix, incarcerate, and destroy for their benefit. They have no respect or consideration for nature and other human beings, and they actually seek to abuse magic by preventing change and causing everything to be transfixed according to their interests. Enchantment equals petrification. Breaking the spell equals emancipation. The wondrous protagonist wants to keep the process of natural change flowing and indicates possibilities for overcoming the obstacles that prevent other characters or creatures from living in a peaceful and pleasurable way. "
85 " Christmas Eve, 1955, Benny Profane, wearing black levis, suede jacket, sneakers and big cowboy hat, happened to pass through Norfolk, Virginia. Given to sentimental impulses, he thought he'd look in on the Sailor's Grave, his old tin can's tavern on East Main Street. "
― Thomas Pynchon , V.
86 " His being there was stirring up a lot of memories she'd have been happier to leave as sentimental sediment. Not that they weren't good memories. That was the trouble. "
87 " Il arrive un âge où ils ne sont plus séduisants, ni «en forme», comme on dit. Ils ne peuvent plus boire et ils pensent encore aux femmes; seulement ils sont obligés de les payer, d'accepter des quantités de petites compromissions pour échapper à leur solitude. Ils sont bernés, malheureux. C'est ce moment qu'ils choisissent pour devenir sentimentaux et exigeants… J'en ai vu beaucoup devenir ainsi des sortes d'épaves. " A time comes when they are no longer attractive or in good form. They can't drink any more, and they still hanker after women, only then they have to pay and make compromises in order to escape from their loneliness: they have become just figures of fun. They grow sentimental and hard to please. I haveseen many who have gone the same way. "
88 " This past, this endless struggle to achieve and reveal and confirm a human identity, human authority, yet contains, for all its horror, something very beautiful. I do not mean to be sentimental about suffering – enough is certainly as good as a feast – but people who cannot suffer can never grow up, can never discover who they are. That man who is forced each day to snatch his manhood, his identity, out of the fire of human cruelty that rages to destroy it knows, if he survives his effort, and even if he does not survive it, something about himself and human life that no school on earth – and indeed, no church – can teach. He achieves his own authority, and that is unshakable. This is because, in order to save his life, he is forced to look beneath appearances, to take nothing for granted, to hear the meaning behind the words. If one is continually surviving the worse that life can bring, one eventually ceases to be controlled by a fear of what life can bring; whatever it brings must be borne. And at this level of experience one’s bitterness begins to be palatable, and hatred becomes too heavy a sack to carry. "
― James Baldwin
89 " Kerouac lacks discipline, intelligence, honesty and a sense of the novel. His rhythms are erratic, his sense of character is nil, and he is as pretentious as a rich whore, sentimental as a lollypop. "
― Norman Mailer
90 " A critic can call any poem 'doggerel.' That is no more than a slur. 'Doggerel' or 'maudlin' or 'sappy' or 'sentimental' is in the ear of the listener. By the by, 'sentimental' is okay as it is defined as 'marked or governed by feeling, sensibility, or emotional idealism.' It is 'sentimentality' that is to be avoided, like the fiddleback spider, being as it is 'the quality or state of being sentimental to excess or in affectation.' Again we are faced with a judgement call and must keep a sharp eye on our outpourings to insure they are not overly gooey.The intellectual elite probably believe that most of the lyrics songwriters create are 'doggerel' of one kind or another--that is to say 'trivial" ......the young songwriter has now been warned about the implacable nature of the enemy. Under a rather large umbrella, preferred twentieth-century taste in art of all kinds has been characterized by a kind of detachment, or sangfroid. It is simply not chic to be carried away in one's emotional reaction to a subject. All serious communication or complaint must be carefully wrapped in a protective coating of irony and/or satire. "
91 " I have a habit of being an archaeologist of my own past, a sentimental collector of personal artefacts which may at first glance appear random, but each of which holds a unique significance. As the years pass me by, I find that the number of objects within my possession begins to accumulate. A torn map. A sealed letter. A boat full of paper animals. Each item encapsulates within itself a story, akin to an outward manifestation of my inner journey. "
― Agnes Chew ,
92 " She will try to find the nice way to exercise intelligence. But intelligence is not ladylike. Intelligence is full of excesses. Rigorous intelligene abhors sentimentality, and women must be sentimental to value the dreadful silliness of the men around them. Morbid intelligence abhors the cheery sunlight of positive thinking and eternal sweetness; and women must be sunlight and cheery and sweet, or the woman could not bribe her way with smiles through a day. Wild intelligence abhors any narrow world; and the world of women must stay narrow, or the woman is an outlaw. No woman could be Nietzsche or Rimbaud without ending up in a whorehouse or lobotomized. Any vital intelligence has passionate questions, aggressive answers; but women cannot be explorers; there can be no Lewis or Clark of the female mind. "
― Andrea Dworkin
93 " She'll come, if not today, then tomorrow, but she'll find me. That's the cursed romanticism of all these pure hearts! Oh the vileness, oh the stupidity, oh the narrowness, of these rotten, sentimental souls "
― Fyodor Dostoevsky
94 " Already, in the last few decades, you have realized the utter futility of of encumbering yourselves with superfluous possessions that have no useful virtue, but which, for various sentimental reasons, you continue to hoard, thus lessening your life's efficiency by using for it time and attention that should have been applied to the practical work of life's accomplishments. (The Miracle of the Lily - 1928) "
― Clare Winger Harris , The Dreaming Sex: Early Tales of Scientific Imagination by Women
95 " [T]he heart is a very unreliable coinpass, and even will and knowledge, as all ideological factors in general, are not to be trusted as guides if they are without any material basis…. [I]t is not love nor help which is the guiding rule of our time, but hammer or anvil. In reality it is thus: who does not want to be a servant must try to become a master. Under such conditions it is idle to hope that people will sacrifice realities for ideal precepts. We are not sentimental enough to expect such things. Though we use moral arguments in our struggle against the bourgeois, we do all we can to stimulate our class consciousness. "
96 " For so many years, the official propaganda machinery had denounced humanitarianism as sentimental trash and advocated human relations based entirely on class allegiance. But my personal experience had shown me that most of the Chinese people remained kind, sensitive, and compassionate even though the cruel reality of the system under which they had to live compelled them to lie and pretend. Pg. 409 "
97 " Identification with the rag called the national flag is an emotional and sentimental factor and for that factor you are willing to kill another - and that is called, the love of your country, love of the neighbor . . .? One can see that where sentiment and emotion come in, love is not. "
― J. Krishnamurti
98 " I’m not sentimental about anything. Life flows by, and you flow with it or you don’t. Move on and move out. "
― Gore Vidal
99 " Humor is the touchstone of the truly mythological as distinct from the more literal-minded and sentimental theological mood. "
― Joseph Campbell , The Hero With a Thousand Faces
100 " I am easily moved to tears and rarely survive a visit to the cinema without shedding them, racked, as I am, by the most perfunctory, meretricious or even callously sentimental attempts at poignancy (something about the exterior of the human face, so vast and palpable, with the eyes and the lips: it is all writ too large for me, too immediate for me.) "
― Martin Amis , Experience: A Memoir