5
" Write every day, line by line, page by page, hour by hour. Do this despite fear. For above all else, beyond imagination and skill, what the world asks of you is courage, courage to risk rejection, ridicule and failure. As you follow the quest for stories told with meaning and beauty, study thoughtfully but write boldly. Then, like the hero of the fable, your dance will dazzle the world. "
― Robert McKee
6
" How the excitement comes upon me to tell it all! In the quest of writing, the heart can speed up with anticipation--as it does, indeed, during the chase itself of whales. I can swear it, having done both, and I will tell YOU though other writers may not. My heart is beating fast; I am in pursuit; I want my victory--that you should see and hear and above all feel the reality behind these words. For they are but a mask. Not the mask that conceals, not a mask that I would have you strike through as mere appearance, or, worse, deceitful appearance. Words need not be that kind of mask, but a mask such as the ancient Greek actors wore, a mask that expresses rather than conceals the inner drama.
(But do you know me? Una? You have shipped long with me in the boat that is this book. Let me assure you and tell you that I know you, even something of your pain and joy, for you are much like me. The contract of writing and reading requires that we know each other. Did you know that I try on your mask from time to time? I become a reader, too, reading over what I have just written. If I am your shipbuilder and captain, from time to time I am also your comrade. Feel me now, standing beside you, just behind your shoulder?) "
― Sena Jeter Naslund
7
" In the detective story, as in its mirror image, the Quest for the Grail, maps (the ritual of space) and timetables (the ritual of time) are desirable. Nature should reflect its human inhabitants, i.e., it should be the Great Good Place; for the more Eden-like it is, the greater the contradiction of murder. The country is preferable to the town, a well-to-do neighborhood (but not too well-to-do-or there will be a suspicion of ill-gotten gains) better than a slum. The corpse must shock not only because it is a corpse but also because, even for a corpse, it is shockingly out of place, as when a dog makes a mess on a drawing room carpet." , Harper's Magazine, May 1948) "
11
" In The Inhuman... Lyotard, like Weber, reminds us of the distinction between technological development and 'human' progress. He argues, in particular, that the development of technology, or 'techno-science', is driven by the quest for maximum efficiency and performance, and as such leads to the emergence of new 'inhuman' (technological) forms of control rather than to the emancipation of 'humanity'. Lyotard reasserts the instrumental nature of the modern system, arguing that 'All technology ... is an artefact allowing its users to stock more information, to improve their competence and optimize their performances'. In this view, techno-science may be seen to stand against all instances of the unknown, including the aporia of the future anterior, and thus to have little respect for forms which are different or other to itself. This is compounded by the fact that technological development is intimately connected to the drive for profit. Lyotard proposes that this directs the production of knowledge and conditions the nature of knowledge itself, for information, itself a commodity, is increasingly produced in differentiated, digestible forms ('bits') for ease of mass exchange, transmission and consumption, and with the aim of enabling the optimal performance of the global system. "
― , Max Weber and Postmodern Theory: Rationalization Versus Re-enchantment
