1
" To be, or not to be: that is the question:
Whether 'tis nobler in the mind to suffer
The slings and arrows of outrageous fortune,
Or to take arms against a sea of troubles,
And by opposing end them? To die: to sleep;
No more; and by a sleep to say we end
The heart-ache and the thousand natural shocks
That flesh is heir to, 'tis a consummation
Devoutly to be wish'd. To die, to sleep;
To sleep: perchance to dream: ay, there's the rub;
For in that sleep of death what dreams may come
When we have shuffled off this mortal coil,
Must give us pause: there's the respect
That makes calamity of so long life;
For who would bear the whips and scorns of time,
The oppressor's wrong, the proud man's contumely,
The pangs of despised love, the law's delay,
The insolence of office and the spurns
That patient merit of the unworthy takes,
When he himself might his quietus make
With a bare bodkin? who would fardels bear,
To grunt and sweat under a weary life,
But that the dread of something after death,
The undiscover'd country from whose bourn
No traveller returns, puzzles the will
And makes us rather bear those ills we have
Than fly to others that we know not of?
Thus conscience does make cowards of us all;
And thus the native hue of resolution
Is sicklied o'er with the pale cast of thought,
And enterprises of great pith and moment
With this regard their currents turn awry,
And lose the name of action.--Soft you now!
The fair Ophelia! Nymph, in thy orisons
Be all my sins remember'd! "
― William Shakespeare , Hamlet
4
" Within sixty-minute limits or one-hundred-yard limits or the limits of a game board, we can look for perfect moments or perfect structures. In my fiction I think this search sometimes turns out to be a cruel delusion.
No optimism, no pessimism. No homesickness for lost values or for the way fiction used to be written.
Everybody seems to know everything. Subjects surface and are totally exhausted in a matter of days or weeks, totally played out by the publishing industry and the broadcast industry. Nothing is too arcane to escape the treatment, the process. Making things difficult for the reader is less an attack on the reader than it is on the age and its facile knowledge-market.
The writer is the person who stands outside society, independent of affiliation and independent of influence. The writer is the man or woman who automatically takes a stance against his or her government. There are so many temptations for American writers to become part of the system and part of the structure that now, more than ever, we have to resist. American writers ought to stand and live in the margins, and be more dangerous. Writers in repressive societies are considered dangerous. That’s why so many of them are in jail.
Some people prefer to believe in conspiracy because they are made anxious by random acts. Believing in conspiracy is almost comforting because, in a sense, a conspiracy is a story we tell each other to ward off the dread of chaotic and random acts. Conspiracy offers coherence.
I see contemporary violence as a kind of sardonic response to the promise of consumer fulfillment in America... I see this desperation against the backdrop of brightly colored packages and products and consumer happiness and every promise that American life makes day by day and minute by minute everywhere we go.
Discarded pages mark the physical dimensions of a writer’s labor.
Film allows us to examine ourselves in ways earlier societies could not—examine ourselves, imitate ourselves, extend ourselves, reshape our reality. It permeates our lives, this double vision, and also detaches us, turns some of us into actors doing walk-throughs.
Every new novel stretches the term of the contract—let me live long enough to do one more book.
You become a serious novelist by living long enough. "
― Don DeLillo
6
" Peaceful with six children Darya Alexandrova could not be...Rare indeed were the brief periods of peace...hard though it was for the mother to bear the dread of illness, the illnesses themselves, and the grief of seeing signs of evil propensities in her children--the children themselves were even now repaying her in small joys for her sufferings. Those joys were so small that they passed unnoticed, like gold in sand, and at bad moments she could see nothing but the pain, nothing but sand; but there were good moments too when she saw nothing but the joy, nothing but gold.
Now in the solitude of the country, she began to be more and more frequently aware of those joys. Often, looking at them, she would make every possible effort to persuade herself that she was mistaken, that she as a mother was partial to her children. All the same, she could not help saying to herself that she had charming children, all six of them in different ways, but a set of children such as is not often to be met with, and she was happy in them, and proud of them. "
― Leo Tolstoy , Anna Karenina
9
" Ye elves of hills, brooks, standing lakes and groves,
And ye that on the sands with printless foot
Do chase the ebbing Neptune and do fly him
When he comes back; you demi-puppets that
By moonshine do the green sour ringlets make,
Whereof the ewe not bites, and you whose pastime
Is to make midnight mushrooms, that rejoice
To hear the solemn curfew; by whose aid,
Weak masters though ye be, I have bedimm’d
The noontide sun, call’d forth the mutinous winds,
And ‘twixt the green sea and the azured vault
Set roaring war: to the dread rattling thunder
Have I given fire and rifted Jove’s stout oak
With his own bolt; the strong-based promontory
Have I made shake and by the spurs pluck’d up
The pine and cedar: graves at my command
Have waked their sleepers, oped, and let ‘em forth
By my so potent art. But this rough magic
I here abjure, and, when I have required
Some heavenly music, which even now I do,
To work mine end upon their senses that
This airy charm is for, I’ll break my staff,
Bury it certain fathoms in the earth,
And deeper than did ever plummet sound
I’ll drown my book. "
― William Shakespeare , The Tempest
10
" Two fears alternate in marriage, of loneliness and of bondage. The dread of loneliness being keener than the fear of bondage, we get married. For one person who fears being thus tied there are four who dread being set free. Yet the love of liberty is a noble passion and one to which most married people secretly aspire, -- in moments when they are not neurotically dependent -- but by then it is too late; the ox does not become a bull, not the hen a falcon.
The fear of loneliness can be overcome, for it springs from weakness; human beings are intended to be free, and to be free is to be lonely, but the fear of bondage is the apprehension of a real danger, and so I find it all the more pathetic to watch young men and beautiful girls taking refuge in marriage from an imaginary danger, a sad loss to their friends ad a sore trial to each other. First love is the one most worth having, yet the best marriage is often the second, for we should marry only when the desire for freedom be spent; not till then does a man know whether he is the kind who can settle down. The most tragic breakings-up are of those couples who have married young and who have enjoyed seven years of happiness, after which the banked fires of passion and independence explode -- and without knowing why, for they still love each other, they set about accomplishing their common destruction. "
― Cyril Connolly , The Unquiet Grave: A Word Cycle by Palinurus
12
" I have no idea how long Quisser was gone from the table. My attention became fully absorbed by the other faces in the club and the deep anxiety they betrayed to me, an anxiety that was not of the natural, existential sort but one that was caused by peculiar concerns of an uncanny nature. What a season is upon us, these faces seemed to say. And no doubt their voices would have spoken directly of certain peculiar concerns had they not been intimidated into weird equivocations and double entendres by the fear of falling victim to the same kind of unnatural affliction that had made so much trouble in the mind of the art critic Stuart Quisser. Who would be next? What could a person say these days, or even think, without feeling the dread of repercussion from powerfully connected groups and individuals? I could almost hear their voices asking, " Why here, why now?" But of course they could have just as easily been asking, " Why not here, why not now?" It would not occur to this crowd that there were no special rules involved; it would not occur to them, even though they were a crowd of imaginative artists, that the whole thing was simply a matter of random, purposeless terror that converged upon a particular place at a particular time for no particular reason. On the other hand, it would also not have occurred to them that they might have wished it all upon themselves, that they might have had a hand in bringing certain powerful forces and connections into our district simply by wishing them to come. They might have wished and wished for an unnatural evil to fall upon them but, for a while at least, nothing happened. Then the wishing stopped, the old wishes were forgotten yet at the same time gathered in strength, distilling themselves into a potent formula (who can say!), until one day the terrible season began. Because had they really told the truth, this artistic crowd might also have expressed what a sense of meaning (although of a negative sort), not to mention the vigorous thrill (although of an excruciating type), this season of unnatural evil had brought to their lives.(" Gas Station Carnivals" ) "
13
" What?" The dread in her tone told Rob she knew what. " How much longer?" " Thirty seconds." She laughed with a panicked urgency. " I just tried to nod. I can't feel my body, but I keep reaching for it, you know?" Rob nodded, feeling guilty he was able to." How about this? I'll just tell you when I'm nodding, or shaking my head, or punching you." " Oh, no," Rob laughed, " are you planning on punching me often?" " We'll see." Rob couldn't help glancing at the timer, though he knew it would only make Winter more aware of what was about to happen. Seven seconds." I keep expecting this to get easier, taht it will start to feel as if I'm going to sleep. But it doesn't. Maybe it's not possible to get used to dying." Rob reached out to comfort her, then remembered it was forbidden and drew back. If not for the surveillance, Rob would have reached under the silver cover and taken her hand, cold and stiff as it would have been. "
15
" I’m never going to be kissed.”
I open my eyes to see my brothers gaping at me like I’ve lost my mind.
“You don’t kiss boys,” says West. “Boys shouldn’t be anywhere near you. Guys only want one thing, Rach, and it ain’t conversation. I should know.” He waves off the subject in frustration, then shakes his head as he speaks again. “Why are we even talking about this? You aren’t seeing anyone.”
“Ah, hell,” mumbles Jack. “We’re having the sex talk with my baby sister.”
“Is she dating?” Gavin demands of West and Ethan. “She can’t be dating. Now we have to beat the snot out of some horny teenager. You should have told me this was going on.”
“Make them stop,” I whisper to Ethan. Along with the dread of speeches and vomiting, I’m also dying of embarrassment.
“She’s not dating!” West shudders as if spiders cover him. “That’s just sick, Rach. Don’t talk like that. Ever. Again.”
Gavin sends me a glare clearly meant to warn me off from kissing and dating boys before he heads for the main ballroom. "
― Katie McGarry , Crash into You (Pushing the Limits, #3)
16
" In addition to conformity as a way to relieve the anxiety springing from separateness, another factor of contemporary life must be considered: the role of the work routine and the pleasure routine. Man becomes a 'nine to fiver', he is part of the labour force, or the bureaucratic force of clerks and managers. He has little initiative, his tasks are prescribed by the organisation of the work; there is even little difference between those high up on the ladder and those on the bottom. They all perform tasks prescribed by the whole structure of the organisation, at a prescribed speed, and in a prescribed manner. Even the feelings are prescribed: cheerfulness, tolerance, reliability, ambition, and an ability to get along with everybody without friction. Fun is routinised in similar, although not quite as drastic ways. Books are selected by the book clubs, movies by the film and theatre owners and the advertising slogans paid for by them; the rest is also uniform: the Sunday ride in the car, the television session, the card game, the social parties. From birth to death, from Monday to Monday, from morning to evening - all activities are routinised, and prefabricated. How should a man caught up in this net of routine not forget that he is a man, a unique individual, one who is given only this one chance of living, with hopes and disappointments, with sorrow and fear, with the longing for love and the dread of the nothing and separateness? "
― Erich Fromm , The Art of Loving
17
" Here it is necessary briefly to consider the question of the cult of ancestors before venturing farther. The spirits of the departed are believed to be possessed of supernatural powers which they did not enjoy in the flesh. They may also be dissatisfied or malignant in consequence of being suddenly deprived of life, and if they are neglected by the living, are apt to be revengeful. Therefore they must be cajoled and propitiated. Fear of beings belonging to a mysterious state or sphere of which he knew nothing continually haunted and terrified primitive man and induced in him what is known as" the dread of the sacred." It was every man's personal duty to attend to the demands or requirements of his deceased ancestors. At first he would succour his own immediate forebears with food and gifts; but it must have been borne in upon him that when his parents joined the great majority, the care of the spirits of their parents likewise devolved upon him... and, by degrees, he might even come to regard himself as responsible for the well-being of a line of spirit ancestors of quite formidable genealogy. These, through his neglect, might starve in their tombs; or, alternatively, they might crave his company. Because of vengeance or loneliness they might send disease upon him, for the savage almost invariably believes illness to be brought about by the action of jealous or neglected ancestors. The loneliness of the spirit-world is the dead man's greatest excuse for desiring the company of his descendants. "
