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1 " Whereas I think: I’m lying here in a haystack... The tiny space I occupy is so infinitesimal in comparison with the rest of space, which I don’t occupy and which has no relation to me. And the period of time in which I’m fated to live is so insignificant beside the eternity in which I haven’t existed and won’t exist... And yet in this atom, this mathematical point, blood is circulating, a brain is working, desiring something... What chaos! What a farce! "
― Ivan Turgenev , Fathers and Sons
2 " Described in this way, utilitarianism has little in common with the prosaic, visionless notion of the 'merely utilitarian,' in the sense of a narrowly or mundanely functional or efficient option. No such limited horizon confined the thought and character of the great English-language utilitarian philosophers, whose influence ran its course from the period just before the French Revolution through the Victorian era. Happiness, for them, was more of a cosmic calling, the path to world progress, and whatever was deemed 'utilitarian' had to be useful for that larger and inspiring end, the global minimization of pointless suffering and the global maximization of positive well-being or happiness. It invokes, ultimately, the point of view of universal benevolence. And it is more accurately charged with being too demanding ethically than with being too accommodating of narrow practicality, material interests, self-interestedness, and the like. "
3 " What is more natural than that a solidity, a complicity, a bond should be established between Reader and Reader, thanks to the book? You can leave the bookshop content, you, a man who thought that the period where you could still expect something from life had ended. You are bearing with you two different expectations, and both promise days of pleasant hopes; the expectation contained in the book - of a reading experience you are impatient to resume - and the expectation contained in that telephone number - of hearing again the vibrations, a times treble and at times smoldering, of that voice, when it will answer your first phone call in a while, in fact tomorrow, with the fragile pretext of the book, to ask her if she likes it or not, to tell her how many pages you have read or not read, to suggest to her that you meet again... "
― Italo Calvino , If on a Winter's Night a Traveler
4 " It is currently said that hope goes with youth, and lends to youth its wings of a butterfly; but I fancy that hope is the last gift given to man, and the only gift not given to youth. Youth is pre-eminently the period in which a man can be lyric, fanatical, poetic; but youth is the period in which a man can be hopeless. The end of every episode is the end of the world. But the power of hoping through everything, the knowledge that the soul survives its adventures, that great inspiration comes to the middle-aged; God has kept that good wine until not. It is from the backs of the elderly gentlemen that the wings of the butterfly should burst. "
― G.K. Chesterton , Charles Dickens: A Critical Study
5 " Nobody knows how many North Koreans have died or are dying in the famine—some estimates by foreign-aid groups run as high as three million in the period from 1995 to 1998 alone—but the rotund, jowly face of Kim Il Sung still beams down contentedly from every wall, and the 58-year-old son looks as chubby as ever, even as his slenderized subjects are mustered to applaud him. "
― Christopher Hitchens , Love, Poverty, and War: Journeys and Essays
6 " Dimanchophobia:Fear of Sundays, not in a religious sense but rather, a condition that reflects fear of unstructured time. Also known as acalendrical anxiety. Not to be confused with didominicaphobia, or kyriakephobia, fear of the Lord's Day.Dimanchophobia is a mental condition created by modernism and industrialism. Dimanchophobes particularly dislike the period between Christmas and New Year's, when days of the week lose their significance and time blurs into a perpetual Sunday. Another way of expressing dimanchophobia might be " life in a world without calendars." A popular expression of this condition can be found in the pop song " Every Day is Like Sunday," by Morrissey, in which he describes walking on a beach after a nuclear way, when every day of the week now feels like Sunday. "
7 " When we retire at night, we constructively review our day. Were we resentful, selfish, dishonest or afraid? Do we owe an apology? Have we kept something to ourselves which should be discussed with another person at once? Were we kind and loving toward all? What could we have done better? Were we thinking of ourselves most of the time? Or were we thinking of what we could do for others, of what we could pack into the stream of life? But we must be careful not to drift into worry, remorse or morbid reflection, for that would diminish our usefulness to others. After making our review we ask God’s forgiveness and inquire what corrective measures should be taken.On awakening let us think about the twenty-four hours ahead. We consider our plans for the day. Before we begin, we ask God to direct our thinking, especially asking that it be divorced from self-pity, dishonest or self-seeking motives. Under these conditions we can employ our mental faculties with assurance, for after all God gave us brains to use. Our thought-life will be placed on a much higher plane when our thinking is cleared of wrong motives.In thinking about our day we may face indecision. We may not be able to determine which course to take. Here we ask God for inspiration, an intuitive thought or a decision. We relax and take it easy. We don’t struggle. We are often surprised how the right answers come after we have tried this for a while.What used to be the hunch or the occasional inspiration gradually becomes a working part of the mind. Being still inexperienced and having just made conscious contact with God, it is not probable that we are going to be inspired at all times. We might pay for this presumption in all sorts of absurd actions and ideas. Nevertheless, we find that our thinking will, as time passes, be more and more on the plane of inspiration. We come to rely upon it. We usually conclude the period of meditation with a prayer that we be shown all through the day what our next step is to be, that we be given whatever we need to take care of such problems. We ask especially for freedom from self-will, and are careful to make no request for ourselves only. We may ask for ourselves, however, if others will be helped. We are careful never to pray for our own selfish ends. Many of us have wasted a lot of time doing that and it doesn’t work. You can easily see why. "
8 " The Government set the stage economically by informing everyone that we were in a depression period, with very pointed allusions to the 1930s. The period just prior to our last 'good' war. ... Boiled down, our objective was to make killing and military life seem like adventurous fun, so for our inspiration we went back to the Thirties as well. It was pure serendipity. Inside one of the Scripter offices there was an old copy of Doc Smith's first LENSMAN space opera. It turned out that audiences in the 1970s were more receptive to the sort of things they scoffed at as juvenilia in the 1930s. Our drugs conditioned them to repeat viewings, simultaneously serving the ends of profit and positive reinforcement. The movie we came up with stroked all the correct psychological triggers. The fact that it grossed more money than any film in history at the time proved how on target our approach was.''Oh my God... said Jonathan, his mouth stalling the open position.'Six months afterward we ripped ourselves off and got secondary reinforcement onto television. We pulled a 40 share. The year after that we phased in the video games, experimenting with non-narcotic hypnosis, using electrical pulses, body capacitance, and keying the pleasure centers of the brain with low voltage shocks. Jesus, Jonathan, can you *see* what we've accomplished? In something under half a decade we've programmed an entire generation of warm bodies to go to war for us and love it. They buy what we tell them to buy. Music, movies, whole lifestyles. And they hate who we tell them to. ... It's simple to make our audiences slaver for blood; that past hasn't changed since the days of the Colosseum. We've conditioned a whole population to live on the rim of Apocalypse and love it. They want to kill the enemy, tear his heart out, go to war so their gas bills will go down! They're all primed for just that sort of denouemment, ti satisfy their need for linear storytelling in the fictions that have become their lives! The system perpetuates itself. Our own guinea pigs pay us money to keep the mechanisms grinding away. If you don't believe that, just check out last year's big hit movies... then try to tell me the target demographic audience isn't waiting for marching orders. (" Incident On A Rainy Night In Beverly Hills" ) "
9 " ...this protracted war will pass through three stages. The first stage covers the period of the enemy's strategic offensive and our strategic defensive. The second stage will be the period of the enemy's strategic consolidation and our preparation for the counter-offensive. The third stage will be the period of our strategic counter-offensive and the enemy's strategic retreat. "
― Mao Zedong , Selected Military Writings
10 " Dr. Chanter, in his brilliant History of Human Thought in the Twentieth Century, has made the suggestion that only a very small proportion of people are capable of acquiring new ideas of political or social behaviour after they are twenty-five years old. On the other hand, few people become directive in these matters until they are between forty and fifty. Then they prevail for twenty years or more. The conduct of public affairs therefore is necessarily twenty years or more behind the living thought of the times. This is what Dr. Chanter calls the " delayedrealisation of ideas" .In the less hurried past this had not been of any great importance, but in the violent crises of the Revolutionary Period it became a primary fact. It is evident now that whatever the emergency, however obvious the new problem before our species in the nineteen-twenties, it was necessary for the whole generation that had learned nothing and could learn nothing from the Great War and its sequelae, to die out before any rational handling of world affairs could even begin. The cream of the youth of the war years had been killed; a stratum of men already middle-aged remained in control, whose ideas had already set before the Great War. It was, says Chanter, an inescapable phase. The world of the Frightened Thirties and the Brigand Forties was under the dominion of a generation of unteachable, obstinately obstructive men, blinded men, miseducating, misleading the baffled younger people for completely superseded ends. If they could have had their way, they would have blinded the whole world for ever. But the blinding was inadequate, and by the Fifties all this generation and its teachings and traditions were passing away, like a smoke-screen blown aside.Before a few years had passed it was already incredible that in the twenties and thirties of the twentieth century the whole political life of the world was still running upon the idea of competitive sovereign empires and states. Men of quite outstanding intelligence were still planning and scheming for the " hegemony" of Britain or France or Germany or Japan; they were still moving their armies and navies and air forces and making their combinations and alliances upon the dissolving chess-board of terrestrial reality. Nothing happened as they had planned it; nothing worked out as they desired; but still with a stupefying inertia they persisted. They launched armies, they starved and massacred populations. They were like a veterinary surgeon who suddenly finds he is operating upon a human being, and with a sort of blind helplessness cuts and slashes more and more desperately, according to the best equestrian rules. The history of European diplomacy between 1914 and 1944 seems now so consistent a record of incredible insincerity that it stuns the modern mind. At the time it seemed rational behaviour. It did not seem insincere. The biographical material of the period -- and these governing-class people kept themselves in countenance very largely by writing and reading each other's biographies -- the collected letters, the collected speeches, the sapient observations of the leading figures make tedious reading, but they enable the intelligent student to realise the persistence of small-society values in that swiftly expanding scene.Those values had to die out. There was no other way of escaping from them, and so, slowly and horribly, that phase of the moribund sovereign states concluded. "
11 " All of that art-for-art’s-sake stuff is BS,” she declares. “What are these people talking about? Are you really telling me that Shakespeare and Aeschylus weren’t writing about kings? All good art is political! There is none that isn’t. And the ones that try hard not to be political are political by saying, ‘We love the status quo.’ We’ve just dirtied the word ‘politics,’ made it sound like it’s unpatriotic or something.” Morrison laughs derisively. “That all started in the period of state art, when you had the communists and fascists running around doing this poster stuff, and the reaction was ‘No, no, no; there’s only aesthetics.’ My point is that is has to be both: beautiful and political at the same time. I’m not interested in art that is not in the world. And it’s not just the narrative, it’s not just the story; it’s the language and the structure and what’s going on behind it. Anybody can make up a story. "
― Toni Morrison
12 " All told, over the period 1932-1980, nearly half a century, the top federal income tax rate in the United States averaged 81 percent. "
― Thomas Piketty , Capital in the Twenty-First Century
13 " Nations need to constantly reaffirm their historical roots to maintain their political ideals. Motion pictures were one of the media used by nations to accommplish this task. The question one must ask is: Did the colonial films made faithfully represent the period in our nation's history? "
14 " Yet a much more fundamentally political dimension of the socially constructed nature of capital - nothing less than the specification of a parallel universe with its own natural laws and rules for the physical existence and subsistence of financial capital and its interaction with the other factors of production - has also often been overlooked in contemporary academic literature. Under the current monetary arrangements financial capital is a peculiar creature indeed. Money can be created ex nihilo at the stroke of a pen - or a keyboard - by a specific type of legal person entrusted with the task, not other legal or natural person. With the socially constructed ability to attract compound interest in a world where physical assets rot and break, it does not share the same physical reality with the mere mortal factors of production: even in cases where productive investments which enable the payment of interest in real terms can be identified, the compounding of interest on financial capital is not temporally limited to the period that the relevant physical assets can continue to produce exponential returns in real terms. Rather than representing accumulated wealth that could be " saved" to finance investment, the bulk of money disappears as soon as other factors of production are not willing to pay a tribute to induce its continuing circulation in the form of interest payments. In addition to the inherently political nature of specifications of money have been detached from virtually any substantive connection to the rules or the realities experienced by other factors of production in the physical world that is nonetheless supposed to achieve economic efficiency and a host of other objectives through monetary calculation and monetarily mediated social relationships deserves particular scrutiny. "
15 " When I began to write fiction that I knew would be published as science fiction, [and] part of what I brought to it was the critical knowledge that science fiction was always about the period in which it was written. "
― William Gibson
16 " When you think about the period in which Agatha Christie's crime novels were written, they are actually quite edgy for the time. "
― Sara Sheridan
17 " In Arachnia as it is spoken on Nepiy, ‘she’ is the pronoun for all sentient individuals of whatever species who have achieved the legal status of ‘woman’. The ancient, dimorphic form ‘he’, once used exclusively for the genderal indication of males (cf. the archaic term man, pl. men), for more than a hundred-twenty years now, has been reserved for the general sexual object of ‘she’, during the period of excitation, regardless of the gender of the woman speaking or the gender of the woman referred to. "
― Samuel R. Delany , Stars in My Pocket Like Grains of Sand
18 " After the period of sex-attraction has passed, women have no power in America.” -Elizabeth Bisland "
― Matthew Goodman , Eighty Days: Nellie Bly and Elizabeth Bisland's History-Making Race Around the World
19 " When we suffer anguish we return to early childhood because that is the period in which we first learnt to suffer the experience of total loss. It was more than that. It was the period in which we suffered more total losses than in all the rest of our life put together. "
― John Berger
20 " Some people are agents from birth, Monsignors -- he told them -- appointed to the work by the period of history, the place, and their own natural dispositions. In their cases, it was simply a question of who got to them first, Your Eminences: 'Whether it's us, whether it's the opposition, or whether it's the bloody missionaries. "
― John le Carré , The Honourable Schoolboy (George Smiley #6; Karla Trilogy #2)
