1
" They know a million tricks, those novelists. Take Doctor Goebbels; that's how he started out, writing fiction. Appeals to the base lusts that hide in everyone no matter how respectable on the surface. Yes, the novelist knows humanity, how worthless they are, ruled by their testicles, swayed by cowardice, selling out every cause because of their greed - all he's got to do is thump on the drum, and there's his response. And he's laughing, of course, behind his hand at the effect he gets. "
― Philip K. Dick , The Man in the High Castle
7
" When I go to sea, I go as a simple sailor, right before the mast, plumb down into the forecastle, aloft there to the royal mast-head. True, they rather order me about some, and make me jump from spar to spar, like a grasshopper in a May meadow. And at first, this sort of thing is unpleasant enough. It touches one's sense of honor, particularly if you come of an old established family in the land, the van Rensselaers, or Randolphs, or Hardicanutes. And more than all, if just previous to putting your hand into the tar-pot, you have been lording it as a country schoolmaster, making the tallest boys stand in awe of you. The transition is a keen one, I assure you, from the schoolmaster to a sailor, and requires a strong decoction of Seneca and the Stoics to enable you to grin and bear it. But even this wears off in time.
What of it, if some old hunks of a sea-captain orders me to get a broom and sweep down the decks? What does that indignity amount to, weighed, I mean, in the scales of the New Testament? Do you think the archangel Gabriel thinks anything the less of me, because I promptly and respectfully obey that old hunks in that particular instance? Who ain't a slave? Tell me that. Well, then, however the old sea-captains may order me about—however they may thump and punch me about, I have the satisfaction of knowing that it is all right; that everybody else is one way or other served in much the same way—either in a physical or metaphysical point of view, that is; and so the universal thump is passed round, and all hands should rub each other's shoulder-blades, and be content. "
― Herman Melville , Moby-Dick or, the Whale
8
" Read any women's magazine and you'll see the same complaint over and over again: men - those little boys ten or twenty or thirty years on - are hopeless in bed. They are not interested in " foreplay" ; they have no desire to stimulate the erogenous zones of the opposite sex; they are selfish, greedy, clumsy, unsophisticated. These complaints, you can't help feeling, are ironic. Back then, all we wanted was foreplay, and girls weren't interested. They didn't want to be touched, caressed, stimulated, aroused; in fact, they used to thump us if we tried. It's not really very suprising, then, that we're not much good at all that. We spent two or three long and extremely formative years being told very forcibly not even to think about it. Between the ages of fourteen and twenty-four, foreplay changes from being something that boys want to do and girls don't, to something that women want and men can't be bothered with. (Or so they say. Me, I like foreplay - mostly because the times when all I wanted to do was touch are alarmingly fresh in my mind.) The perfect match, if you ask me, is between the Cosmo woman and the fourteen-year-old boy. "
9
" The porn films are not about sex. Sex is airbrushed and digitally washed out of the films. There is no acting because none of the women are permitted to have what amounts to a personality. The one emotion they are allowed to display is an unquenchable desire to satisfy men, especially if that desire involves the women’s physical and emotional degradation. The lightning in the films is harsh and clinical. Pubic hair is shaved off to give the women the look of young girls or rubber dolls. Porn, which advertises itself as sex, is a bizarre, bleached pantomime of sex. The acts onscreen are beyond human endurance. The scenarios are absurd. The manicured and groomed bodies, the huge artificial breasts, the pouting oversized lips, the erections that never go down, and the sculpted bodies are unreal. Makeup and production mask blemishes. There are no beads of sweat, no wrinkle lines, no human imperfections. Sex is reduced to a narrow spectrum of sterilized dimensions. It does not include the dank smell of human bodies, the thump of a pulse, taste, breath—or tenderness. Those in films are puppets, packaged female commodities. They have no honest emotion, are devoid of authentic human beauty, and resemble plastic. Pornography does not promote sex, if one defines sex as a shared act between two partners. It promotes masturbation. It promotes the solitary auto-arousal that precludes intimacy and love. Pornography is about getting yourself off at someone else’s expense. "
― Chris Hedges , Empire of Illusion: The End of Literacy and the Triumph of Spectacle
15
" Frank heard the glass of water thump on the stand that he now imagined might be beside the bed, which meant it was. Finally something firm to grasp, in his mind and with his hand. He reached out very slowly, as he didn’t want to risk tearing the gauze that was so precariously holding his vital organs together. He felt wood. His fingers slid shakily over the corners of the table, feeling their reality, their solidity. He tried to picture it in his head, all rough hewn and unpainted, but the white kept slipping in, even though he knew Mexicans rarely painted anything with a neutral color. Still, there it was, a whitewashed bed stand in his mind. He tried to overlook it, and reached up higher to find the glass cylinder full of what his body was screaming out for, water.That was why he felt so tight, he figured. His tissues and muscles had all dried up, and he needed to rehydrate them before even attempting to move. So at last, grasping the all important container, his fingers straining against its mighty heft, he slowly slipped it to and then off of the edge of the little table. Vast oceans of bluey refuge sloshed against their constraints, spilling their powerful waves over the side, across his sleeping hand, and onto the bed sheets below that were undoubtedly as white as Santa’s fucking beard.But the spill, the great cresting of the breakers over the levee walls, tremendous in its awesome power and glory, had only served to excite him, to intrigue him, the refreshment that the backside of his hand was lapping up osmotically served only to stoke the great thirst within him, and with God steadying his hand, he tipped his gauze laden head up, muscled the glass towards his mouth with veins rippling in his arms, and tipped it.It was not a perfect pour. Water splashed against his forehead, his eyes still clenched tightly in their death struggle against the white, as he had no idea where his mouth was at that point anyway. But he really didn’t give a shit where the life giving fluid went, for he had become a very gauzey sponge, and his tissues would reach their strange and parched tendrils across the entire room if they must to soak up the precious juices that would in turn dissolve their steely grip and allow him to rise from his low perch and sallie forth across the blue fields of agave that awaited a non-suicidal tourist’s itinerary, just outside the door he could not remember but which must surely be bolted to an opening that must surely be the gateway to the very room in which he must surely be attempting to drink. "
19
" Dabbling in the sandbox gives Rabbit a small headache. Over at the pavilion the rubber thump of Roofball and the click of checkers call to his memory, and the forgotten smell of that narrow plastic ribbon you braid bracelets and whistlechains out of and of glue and of the sweat on the handles on athletic equipment is blown down by a breeze laced with children's murmuring. He feels the truth: the thing that has left his life has left irrevocably; no search would recover it. No flight would reach it. It was here, beneath the town, in these smells and these voices, forever behind him. The fullness ends when we give Nature her ransom, when we make children for her. Then she is through with us, and we become, first inside, and then outside, junk. Flower stalks. "
― John Updike , Rabbit, Run
20
" When I lie back and close my eyes, this farthest lip of beach right next to the end of the ocean feels like being up close to an enormous breathing being, the bass drum surf thump reverberating through the sand. Living out here with no lights, alone, you would indeed become sensitive to seasons, rhythms, weather, sounds- right up next to the sea, right up under the sky, like lying close to a lover’s skin to hear blood and breath and heartbeat. "
― Paul Bogard , The End of Night: Searching for Natural Darkness in an Age of Artificial Light
