Apocalypse Now Quotes

The mind of man is capable of anything.

We penetrated deeper and deeper into the heart of darkness

I have heard the languages of apocalypse, and now I shall embrace the silence.

Dean, you've been to Hell, I started the Apocalypse, and we're supposed to be possessed by an archangel and the devil. Now you're being skeptical?

The world is a goddamned evil place, the strong prey on the weak, the rich on the poor; I’ve given up hope that there is a God that will save us all. How am I supposed to believe that there’s a heaven and a hell when all I see now is hell.

Holy shit." Rehv shook his head and muttered, "Now we know what the zombie apocalypse looks like.

I brought Sammy inside and put him to bed. Said his prayer with him. “‘Now I lay me down to sleep…’” To me, just random noise. Gibberish. I wasn’t sure exactly what it was, but I felt that, when it came to God, there was a broken promise in there somewhere.

It has been said that depression is a failure to imagine a plausible desirable future for oneself, and, not just in Marin, but in the whole region, in the Bay Area, and in many other places too, places both near and far, the apocalypse appeared to have arrived and yet it was not apocalyptic, which is to say that while the changes were jarring they were not the end, and life went on, and people found things to do and ways to be and people to be with, and plausible desirable futures began to emerge, unimaginable previously, but not unimaginable now, and the result was something not unlike relief.

That's where all of us are standing now, he thought. On the fat kindling of past sins.

We teach our boys to firebomb villages, but we won't let them write fuck on the side of their planes because it's obscene.

—Well, I’m sorry the apocalypse isn’t convenient for you. Now go to bed.

Hey, I’ve been alive for a very, very long time. Boring,” she sang out. “Gotta do something for kicks, and a good apocalypse every now and then fills the cracks. It’s like the Super Bowl for us gods…but without the beer and everyone could die. Fun, right?

There was this other apocalypse this one time. And, well, I took off. But this time, I don't... I don't know." "Well, what's different?" "Well, I guess I was kinda new to being around humans before. And now I've seen a lot more, gotten to know people, seen what they're capable of and I guess I just realize how amazingly... screwed up they all are. I mean, really, really screwed up in a monumental fashion." "Oh." "And they have no purpose that unites them, so they just drift around, blundering through life until they die. Which they-they know is coming, yet every single one of them is surprised when it happens to them. They're incapable of thinking about what they want beyond the moment. They kill each other, which is clearly insane, and yet, here's the thing. When it's something that really matters, they fight. I mean, they're lame morons for fighting. But they do. They never... They never quit. And so I guess I will keep fighting, too.

As far as she was concerned, the apocalypse was not the worst thing that could happen. The possibility of an immediate and wholesale decimation of civilization was not half as frightening as the simple realization that our individual passing had no impact on the order of things, and life would go on just the same with or without us. Now that, she had always thought, was terrifying.

The world is as I always intuited it to be: weird, fractured and full of monsters.

Annabeth and I were relaxing on the Great Lawn in Central Park when she ambushed me with a question. “You forgot, didn’t you?” I went into red-alert mode. It’s easy to panic when you’re a new boyfriend. Sure, I’d fought monsters with Annabeth for years. Together we’d faced the wrath of the gods. We’d battled Titans and calmly faced death a dozen times. But now that we were dating, one frown from her and I freaked. What had I done wrong? I mentally reviewed the picnic list: Comfy blanket? Check. Annabeth’s favorite pizza with extra olives? Check. Chocolate toffee from La Maison du Chocolat? Check. Chilled sparkling water with twist of lemon? Check. Weapons in case of sudden Greek mythological apocalypse? Check. So what had I forgotten? I was tempted (briefly) to bluff my way through. Two things stopped me. First, I didn’t want to lie to Annabeth. Second, she was too smart. She’d see right through me. So I did what I do best. I stared at her blankly and acted dumb.

Now, it's a fact well known to those who know it well that prophets of doom only attain popularity when they get the drinks in all around.

We probably didn't know what we were doing thousands of years ago as we hunted some large mammals to extinction. But we know what we're doing now. We know how to tread more lightly upon the earth. We could choose to use less energy, eat less meat, clear fewer forests. And we chose not to. As a result, for many forms of life, humanity is the apocalypse.

The guns reminded me that this was just an attempt to punch holes in the darkness that enveloped us now.

It is only when we have the courage to face things exactly as they are, without any self-deception or illusion, that a light will develop out of events, by which the path to success may be recognized.

I learned the Norse gods came with their own doomsday: Ragnarok, the twilight of the gods, the end of it all. The gods were going to battle the frost giants, and they were all going to die. Had Ragnarok happened yet? Was it still to happen? I did not know then. I am not certain now.

It was actually good that the world had ended, because now no one could make her play Settlers of Catan.

I'm so bitter right now that if the Four Horsemen of the Apocalypse showed up I'd give them directions.

The Apocalypse and the war scrambled all the races and cultures. The prosperous cities are all now a diverse mix.

I’ll take my now, waking with a lover’s scent still on me, around me, take my hopes before they’re maybe tragedy; a good morning is still a good morning, even if it leads to apocalypse at night.

Shall I kill her now? Shall I not even investigate, but kill her and burn her? His throat moved. Such thoughts were a hideous testimony to the world he had accepted; a world in which murder was easier than hope.

What do you know? This is where it all began,” he said. “Began?” “This is exactly where I was when I wanted to kiss you,” he whispered, his lips brushing along my neck causing me to melt under his touch. “So bad.” “Except this time there’s no drunk netballer squawking at us,” I teased. “I wouldn’t care if the seven horseman of the Apocalypse charged through the garden right now, nothing’s gonna stop me from doing this.” He leaned down and captured my lips with tenderness, a completely perfect kiss, like it always was.

Because homeland is one of the magical fantasy words like unicorn and soul and infinity that have now passed into the language. And the particular magic of homeland, its particular spell over irie, was that it sounded like a beginning. The beginningest of beginnings. Like the first morning of Eden and the day after apocalypse. A blank page. (p.332)

The lone attendant wasn’t paying any attention to the register; he just stood, mouth half open, holding the remote like maybe if he could change the channel he could change the future. The Moon was gone.

I am afraid of him now. The one I love most in the world.

Civilization, as a process, is indistinguishable from diminishing time-preference (or declining concern for the present in comparison to the future). Democracy, which both in theory and evident historical fact accentuates time-preference to the point of convulsive feeding-frenzy, is thus as close to a precise negation of civilization as anything could be, short of instantaneous social collapse into murderous barbarism or zombie apocalypse (which it eventually leads to). As the democratic virus burns through society, painstakingly accumulated habits and attitudes of forward-thinking, prudential, human and industrial investment, are replaced by a sterile, orgiastic consumerism, financial incontinence, and a ‘reality television’ political circus. Tomorrow might belong to the other team, so it’s best to eat it all now.

No longer was she merely the dancing-girl who extorts a cry of lust and concupiscence from an old man by the lascivious contortions of her body; who breaks the will, masters the mind of a King by the spectacle of her quivering bosoms, heaving belly and tossing thighs; she was now revealed in a sense as the symbolic incarnation of world-old Vice, the goddess of immortal Hysteria, the Curse of Beauty supreme above all other beauties by the cataleptic spasm that stirs her flesh and steels her muscles, - a monstrous Beast of the Apocalypse, indifferent, irresponsible, insensible, poisoning.

In the end, we’re all just victims of our perceptions.

The world had seen so many Ages: the Age of Enlightenment; of Reformation; of Reason. Now, at last, the Age of Desire. And after this, an end to Ages; an end, perhaps, to everything.

The Serpent? Oh, I’m just one of them. There are many more. We’re in the time of deception now, and soon it will be the time of destruction. After that, there will be peace and prosperity for a time, but the destruction that follows that will be even worse. It will seem like the end of the world.", FADE by Kailin Gow

Every season is the Season for us. The apocalypse that never ends. They could’ve chosen a different kind of equality. We could’ve all been safe and comfortable together, surviving together, but they didn’t want that. Now nobody gets to be safe. Maybe that’s what it will take for them to finally realize things have to change.

At this stage of the game, I don’t have the time for patience and tolerance. Ten years ago, even five years ago, I would have listened to people ask their questions, explained to them, mollified them. No more. That time is past. Now, as Norman Mailer said in Naked and the Dead, ‘I hate everything which is not in myself.’ If it doesn’t have a direct bearing on what I’m advocating, if it doesn’t augment or stimulate my life and thinking, I don’t want to hear it. It has to add something to my life. There’s no more time for explaining and being ecumenical anymore. No more time. That’s a characteristic I share with the new generation of Satanists, which might best be termed, and has labeled itself in many ways, an ‘Apocalypse culture.’ Not that they believe in the biblical Apocalypse—the ultimate war between good and evil. Quite the contrary. But that there is an urgency, a need to get on with things and stop wailing and if it ends tomorrow, at least we’ll know we’ve lived today. It’s a ‘fiddle while Rome burns’ philosophy. It’s the Satanic philosophy. If the generation born in the 50’s grew up in the shadow of The Bomb and had to assimilate the possibility of imminent self destruction of the entire planet at any time, those born in the 60’s have had to reconcile the inevitability of our own destruction, not through the bomb but through mindless, uncontrolled overpopulation. And somehow resolve in themselves, looking at what history has taught us, that no amount of yelling, protesting, placard waving, marching, wailing—or even more constructive avenues like running for government office or trying to write books to wake people up—is going to do a damn bit of good. The majority of humans have an inborn death wish—they want to destroy themselves and everything beautiful. To finally realize that we’re living in a world after the zenith of creativity, and that we can see so clearly the mechanics of our own destruction, is a terrible realization. Most people can’t face it. They’d rather retreat to the comfort of New Age mysticism. That’s all right. All we want, those few of us who have the strength to realize what’s going on, is the freedom to create and entertain and share with each other, to preserve and cherish what we can while we can, and to build our own little citadels away from the insensitivity of the rest of the world.

The future says: Dear mortals; I know you are busy with your colourful lives; I have no wish to waste the little time that remains On arguments and heated debates; But before I can appear Please, close your eyes, sit still And listen carefully To what I am about to say; I haven't happened yet, but I will. I can't pretend it's going to be Business as usual. Things are going to change. I'm going to be unrecognisable. Please, don't open your eyes, not yet. I'm not trying to frighten you. All I ask is that you think of me Not as a wish or a nightmare, but as a story You have to tell yourselves - Not with an ending In which everyone lives happily ever after, Or a B-movie apocalypse, But maybe starting with the line 'To be continued...' And see what happens next. Remember this; I am not Written in stone But in time - So please don't shrug and say What can we do? It's too late, etc, etc, etc. Dear mortals, You are such strange creatures With your greed and your kindness, And your hearts like broken toys; You carry fear with you everywhere Like a tiny god In its box of shadows. You love festivals and music And good food. You lie to yourselves Because you're afraid of the dark. But the truth is: you are in my hands And I am in yours. We are in this together, Face to face and eye to eye; We're made for each other. Now those of you who are still here; Open your eyes and tell me what you see.

As the war progresses, and as population increases to an even more intolerable level stretching resources to impossible lengths, the strong will begin fighting for their very survival. That’s what we’re seeing right now. Society will become more and more stratified into the people who aren’t buying the bullshit in society and those who blindly follow where they are led. Satanists, freethinkers, are a burgeoning minority cause. We have an illness that needs to be recognized just like alcoholism, handicaps, addictive behaviors and AIDS. We suffer from a disease called independence — a pathological aversion to regimentation and institutionalism — which prevents us from getting ‘regular’ jobs and living a ‘normal’ life.

Recalling those gone times, old memories lit by the fire of the new, I did not this time wonder how long it would last; I was too smart for that now. Take what you get, and don't think. Of course it could never be that easy, but there were moments, like now, that I could successfully pretend that it was, and I had no inclination to try to peer past those moments. I'm not one who wants to know the future: at the best it spoils the present, with longing or dismay, and at the worst, well. Who really wants to find out how tight the sling is, for your own very personal ass, who wants to know how deep the shit will really be. Not you. Not me either. Because it's rarely bliss saved up, is it, when you finally get there. I'll take my now, waking with a lover's scent on me, around me, take my hopes before they're maybe tragedy; a good morning is a good morning, even if it leads to apocalypse at night.

I used to be Autumn Winters, daughter of an actress and an architect. I had been one of three living in this home, but now I was just Autumn Winters, and I was alone.

What happens if the world ends?" Freddie said. "Maybe it already has," I said, "and this is it. Now we have the opportunity to start over and try to do better this time around.

I’m guided by instinct and determination right now. It’s like I’m on a dark and twisted adventure run, and while the rules and regulations are vague, the quests are obvious.

Let us live so we can love.

Shiver me clitoris, that's an evil vessel,' Severance says.

Holy shit. Rowen Sterling. Glowing. Married. I suppose now’s the time to start packing our bags for the apocalypse.” Jesse slugged my arm. Rowen got the other. “Holy shit. Garth Black. Present. Accounted for. Sober. Quick, no time to pack your bags for the apocalypse because it’s here.

From above, the entire plan of Kuhawk looks like a bird’s nest; the globe looks like a gem at the center. It’s quiet. Except for the times when music happens. Like now— One room in the two-story building glows, violin music emanating from it. Maroc is playing for his master: The Roar of Death Sonata, 1st Movement, one of the legendary Eleven Pieces composed after the Apocalypse.

Imagine a young Isaac Newton time-travelling from 1670s England to teach Harvard undergrads in 2017. After the time-jump, Newton still has an obsessive, paranoid personality, with Asperger’s syndrome, a bad stutter, unstable moods, and episodes of psychotic mania and depression. But now he’s subject to Harvard’s speech codes that prohibit any “disrespect for the dignity of others”; any violations will get him in trouble with Harvard’s Inquisition (the ‘Office for Equity, Diversity, and Inclusion’). Newton also wants to publish Philosophiæ Naturalis Principia Mathematica, to explain the laws of motion governing the universe. But his literary agent explains that he can’t get a decent book deal until Newton builds his ‘author platform’ to include at least 20k Twitter followers – without provoking any backlash for airing his eccentric views on ancient Greek alchemy, Biblical cryptography, fiat currency, Jewish mysticism, or how to predict the exact date of the Apocalypse. Newton wouldn’t last long as a ‘public intellectual’ in modern American culture. Sooner or later, he would say ‘offensive’ things that get reported to Harvard and that get picked up by mainstream media as moral-outrage clickbait. His eccentric, ornery awkwardness would lead to swift expulsion from academia, social media, and publishing. Result? On the upside, he’d drive some traffic through Huffpost, Buzzfeed, and Jezebel, and people would have a fresh controversy to virtue-signal about on Facebook. On the downside, we wouldn’t have Newton’s Laws of Motion.

… The system succeeded, enough to turn talents into machines, warriors into lazy citizens, knights into faithful slaves, writers and artists into pets and trophies. They succeeded, and they laughed. But not after the Apocalypse. Not after the War. We fought. We lost many, but we won through evolution. Now, things are different. Now things are better …

Although now that I'm in middle management I'm supposed to call it "refactoring the strategic value proposition in real time with agile implementation,” or, if I’m being honest, “making it up as I go along.

Apocalypse is now a long-running serial: not “Apocalypse Now” but “Apocalypse From Now On.” Apocalypse has become an event that is happening and not happening. It may be that some of the most feared events, like those involving the irreparable ruin of the environment, have already happened. But we don’t know it yet, because the standards have changed. Or because we do not have the right indices for measuring the catastrophe. Or simply because this is a catastrophe in slow motion. (Or feels as if it is in slow motion, because we know about it, can anticipate it; and now have to wait for it to happen, to catch up with what we think we know.) Modern

The planet dies. Crickets chirp. Crickets survive, for now, among the crashed ships and broken bodies on this crumbling plain. Silver moss devours steel, and violet flowers choke the dead guns. If the planet lasted long enough, the vines that sprout from the corpses' mouths would grow berries. It won't, and neither will they.

Warren could see humans further up the street, that had appeared to be dead, now rising to their feet and swaying drunkenly. One man had a huge chunk of flesh bitten from his face and another from his neck, yet he moved forward even though he appeared to be in enormous pain. Many of the newly changed screamed and contorted their limbs and faces in anguish. They moaned in pain almost continuously.

He still has rainbow-goop holding his hand to his face, and it’s started spreading. The tar on me is slowly freezing me in place the more it dries, and I can’t even lift myself off the ground. “I’m embarrassed for us right now,” Jude says very seriously in that quietly seething way of his.

Knowlede is power and Absolute Knowledge is Absolute Power or the Power of Truth, which is constantly shaping events and circumstances to reveal the errors in our beliefs.

I didn’t have much faith in humanity before. I have even less faith now that the world has sh*t the bed.” – character quote

I grin back and breathe in the sweet smell of sweat, whiteboard marker and fear. The smells of high school.

There are questions that run through your head when you find out that you’re a serial killer.

A deep belief that your moment in time is the pinnacle, the only standard of judgment extending from the creation of light until the black apocalypse, that what you believe right now is eternal truth because you believe it so fervently—those deep beliefs so crucial at the moment but none of them more permanent than a puff of air across a palmful of dry talcum.

As the night air started to creep in, he lifted her in his arms and walked the back way to their home on campus. He spent the evening digging her grave, not even caring who came his way. He didn’t care whether he lived or died, now that he had lost his only love. Mike glanced into her face one more time, and then covered her with dirt. “We bury our own. We take care of the ones we love.” He spoke softly, then placed a flower on her grave and made his way back to their dorm room.

The job of every generation is to discover the flaws of the one that came before it. That's part of growing up, figuring out all the ways your parents and their friends are broken. So pity the first people to reach puberty after a zombie apocalypse, who would have some truly heavy lifting in this department...You become whatever they fear the most. Now THAT'S evolution

Our cultures used to be almost hereditary, but now we choose them from a menu as various as the food court of a suburban shopping mall. Ambition, curiosity, talent, sexuality or religion can draw us to new cities and cultures, where we become foreigners to our parents. Synthetic cultures are nimbler than old ones, often imprudently so. They have scattered so widely that they can no longer hear each other and now some have gone so far afield that they have passed through the apocalypse while the rest of us are watching it on TV.

Many [Tudor-era religious radicals] believed then, exactly as Christian fundamentalists do today, that they lived in the 'last days' before Armageddon and, again just as now, saw signs all around in the world that they took as certain proof that the Apocalypse was imminent. Again like fundamentalists today, they looked on the prospect of the violent destruction of mankind without turning a hair. The remarkable similarity between the first Tudor Puritans and the fanatics among today's Christian fundamentalists extends to their selective reading of the Bible, their emphasis on the Book of Revelation, their certainty of their rightness, even to their phraseology. Where the Book of Revelation is concerned, I share the view of Guy, that the early church fathers released something very dangerous on the world when, after much deliberation, they decided to include it in the Christian canon." [From the author's concluding Historical Note]

I took a moment to savor the sensation of impending disastor before telling it to get lost. "Things are pretty messed up right about now," I began. "What started as a weird phenomenon, something rare, is quickly building into what we might affectionately call 'the Apocalypse.

… The system succeeded, enough to turn talents into machines, warriors into lazy citizens, knights into faithful slaves, writers and artists into pets and trophies. They succeeded, and they laughed. But not after the Apocalypse. Not after the War. We fought. We lost many, but we won through evolution. Now, things are different. Now, things are better …

I was born into the apocalypse. It's probably unhelpful to throw around a word like "apocalypse," and to be honest I couldn't tell you whether it's even apt. It looks like an apocalypse from here. Or from now. From a distance, it looks like the world ended. Maybe it did. But—and I suspect that this isn't something people like to admit; I've seen a lot of people who lived through that time not admitting this—it didn't feel like an apocalypse. It just felt like life.

Maybe it's ALWAYS the end of the world. Maybe you're alive for a while, and then you realize you're going to die, and that's such an insane thing to comprehend, you look around for answers and the only answer is that the world must die with you. Sure, the world seems crazy now. But wouldn't it seem just as crazy if you were alive when they sacrificed peasants, when people were born into slavery, when they killed first-born sons, crucified priests, fed people to lions, burned them on stakes, when they intentionally gave people smallpox or syphilis, when they gassed them, burned them, dropped atomic bombs on them, when entire races tried to wipe other races off the planet? Yes, we've ruined the planet and melted the ice caps and depleted the ozone, and we're always finding new ways to kill one another. Yeah, we're getting cancer at an alarming rate and suicides are at an all-time high, and, sure, we've got people so depressed they take a drug that could turn them into pasty-skinned animals who go around all night dancing and having sex and eating stray cats and small dogs and squirrels and mice and very, very rarely- the statistics say you're more likely to be killed by lightning- a person. But this is the Apocalypse? Fuck you! It's always the Apocalypse. The world hasn't gone to shit. The world is shit. All I'd asked was that it be better managed.

Now speaking of fulfilled prophecy, God Himself used those many fulfillments to prove His very existence. Eight hundred years before Jesus Christ was born, in Isaiah 46:9-10, God used one of the greatest prophets of the Old Testament to rebuke His chosen nation for worshiping idols. And then, speaking for God, the prophet Isaiah said, ‘I am God, declaring the end from the beginning…I have spoken it: I will also bring it to pass.

If I have to face the end of human existence, I want to look totally smoking when it happens. Now shut the hell up.

Even now I can’t describe the fear that contaminated my blood like black ink.

I’m guided by instinct and determination right now. It’s like I’m on a dark and twisted adventure run, and while the

What's amazing to me now is that I actually recall fixating on the fact that my thighs a-l-m-o-s-t touched at the top....If I could go back in time and slap my eighteen-year-old self, I would. I would tell her to snap out of it, because that's the best you thighs will ever be. You should take pictures of your thighs right now so you can remember how amazing they were!

I didn't know. All I know was that the sex was terrific. And that the hippie was cute. She loved sweet pickles. She liked the name Willie. She even liked Apocalypse Now. She was not a vegeterian. These were all on the plus side. But, once I introduced her to my friends, at the time, and they were all stuck-up asshole Lit majors and they made fun of her and she understoond what was going on and her eyes, usually blue, too blue, vacant, were sad. And I protected her. I took her away from them. ('Spell Pynchon,' they asked her, cracking up.) And she introduced me to her friends. And we ended up sitting on some Japanese pillows in her room and we all smoked some pot and this little hippie girl with a wreath on her head, looked at me as I held her and said, "The world blows my mind'. And you know what? I fucked her anyway.

In some parts of the church, the Apocalypse of John (the book of Revelation) was flat out rejected as containing false teaching, whereas the Apocalypse of Peter, which eventually did not make it in, was accepted. There were some Christians who accepted the Gospel of Peter and some who rejected the Gospel of John. There were some Christians who accepted a truncated version of the Gospel of Luke (without its first two chapters), and others who accepted the now noncanonical Gospel of Thomas. Some Christians rejected the three Pastoral Epistles of 1 and 2 Timothy and Titus, which eventually made it in, and others accepted the Epistle of Barnabas, which did not.

You sometimes hear people say, with a certain pride in their clerical resistance to the myth, that the nineteenth century really ended not in 1900 but in 1914. But there are different ways of measuring an epoch. 1914 has obvious qualifications; but if you wanted to defend the neater, more mythical date, you could do very well. In 1900 Nietzsche died; Freud published The Interpretation of Dreams; 1900 was the date of Husserl Logic, and of Russell's Critical Exposition of the Philosophy of Leibniz. With an exquisite sense of timing Planck published his quantum hypothesis in the very last days of the century, December 1900. Thus, within a few months, were published works which transformed or transvalued spirituality, the relation of language to knowing, and the very locus of human uncertainty, henceforth to be thought of not as an imperfection of the human apparatus but part of the nature of things, a condition of what we may know. 1900, like 1400 and 1600 and 1000, has the look of a year that ends a saeculum. The mood of fin de siècle is confronted by a harsh historical finis saeculi. There is something satisfying about it, some confirmation of the rightness of the patterns we impose. But as Focillon observed, the anxiety reflected by the fin de siècle is perpetual, and people don't wait for centuries to end before they express it. Any date can be justified on some calculation or other. And of course we have it now, the sense of an ending. It has not diminished, and is as endemic to what we call modernism as apocalyptic utopianism is to political revolution. When we live in the mood of end-dominated crisis, certain now-familiar patterns of assumption become evident. Yeats will help me to illustrate them. For Yeats, an age would end in 1927; the year passed without apocalypse, as end-years do; but this is hardly material. 'When I was writing A Vision,' he said, 'I had constantly the word "terror" impressed upon me, and once the old Stoic prophecy of earthquake, fire and flood at the end of an age, but this I did not take literally.' Yeats is certainly an apocalyptic poet, but he does not take it literally, and this, I think, is characteristic of the attitude not only of modern poets but of the modern literary public to the apocalyptic elements. All the same, like us, he believed them in some fashion, and associated apocalypse with war. At the turning point of time he filled his poems with images of decadence, and praised war because he saw in it, ignorantly we may think, the means of renewal. 'The danger is that there will be no war.... Love war because of its horror, that belief may be changed, civilization renewed.' He saw his time as a time of transition, the last moment before a new annunciation, a new gyre. There was horror to come: 'thunder of feet, tumult of images.' But out of a desolate reality would come renewal. In short, we can find in Yeats all the elements of the apocalyptic paradigm that concern us.

At that time in my personal life, I was coming to grips with the end of the world. The familiar world, anyway. Many of us were. Scientists said it was ending now, philosophers said it had always been ending. Historians said there’d been dark ages before. It all came out in the wash, because eventually, if you were patient, enlightenment arrived and then a wide array of Apple devices. Politicians claimed everything would be fine. Adjustments were being made. Much as our human ingenuity had got us into this fine mess, so would it neatly get us out. Maybe more cars would switch to electric. That was how we could tell it was serious. Because they were obviously lying.

Forgetting everything else, the journey, the compound, escape, the dying man, the many troubles he left behind, the new troubles ahead, his mind wiped itself clean of thought, and the nerves of his body screamed out for input. He was now the predator, and they were his prey.

He skims through the speech he prepared (for the 50th Independence day): … Before the Apocalypse, the system gave us a goal, forcing us to exhaustion at the end of the day. We had no time to look inside. The system was a slave-reproduction module where we thought we were free. With time lost, we lost our only chance of final evolution at the end of our one life … … The system succeeded, enough to turn talents into machines, warriors into lazy citizens, knights into faithful slaves, writers and artists into pets and trophies. They succeeded, and they laughed. But not after the Apocalypse. Not after the War. We fought. We lost many, but we won through evolution. Now, things are different. Now things are better … Bullshit!—Yuan stops at this point. Too many lies! Nothing has changed. Nothing is better. How can a monk with a voice lie? Moreover, a war hero favoring the Apocalypse—too dark! What was he thinking last night? “Delete all of it,” he mutters sternly.

This reminds me: Are you going to eat the placenta?” Renée asked Harper. “I understand that’s a thing now. We stocked a pregnancy guide at the bookstore with a whole chapter of placenta recipes in the back. Omelets and pasta sauces and so on.” “No, I don’t think so,” Harper said. “Dining on the placenta smacks of cannibalism, and I was hoping for a more dignified apocalypse.” “Rabbit mothers eat their own babies,” the Mazz said. “I found that out reading Watership Down. Apparently the mamas chow on their newborns all the time. Pop them down just like little meat Skittles.

Now you can look at the idea of a unified world system, what the Bible refers to as the future ‘Babylon,’ like a three-legged stool. Global Government, Global Economy, and Global Religion. In the Bible, each of those are prophesied to be world powers at the end of the age. And by the way, each of them will be destroyed by God according to biblical prophecy. You can read it for yourself in last book in the Bible, Revelation, chapters seventeen and eighteen.

Gone as usual in the morning, and me left behind and naked, inner thighs lightly scaled with the dried spoor of our lovemaking: she liked to stay on top afterward and let the juice run down, and I liked whatever she liked. Imagining in the shower that I could smell her still, the angular scent of those secret bones, had she always smelled so fierce and so good? Recalling those gone times, old memories lit by the fire of the new, I did not this time wonder how long it would last; I was too smart for that now. Take what you get, and don’t think. Of course it could never be that easy, but there were moments, like now, that I could successfully pretend that it was, and I had no inclination to try to peer past those moments. I’m not one who wants to know the future: at the best it spoils the present, with longing or dismay, and at the worst, well. Who really wants to find out how tight the sling is, for your own very personal ass, who wants to know how deep the shit will really be? Not you. Not me either. Because it’s rarely bliss saved up, is it, when you finally get there. I’ll take my now, waking with a lover’s scent on me, around me, take my hopes before they’re maybe tragedy; a good morning is still a good morning, even if it leads to apocalypse at night.

Back in Henrietta, night proceeded. Richard Gansey was failing to sleep. When he closed his eyes: Blue’s hands, his voice, black bleeding from a tree. It was starting, starting. No. It was ending. He was ending. This was the landscape of his personal apocalypse. What was excitement when he was wakeful melted into dread when he was tired. He opened his eyes. He opened Ronan’s door just enough to confirm that Ronan was inside, sleeping with his mouth ajar, headphones blaring, Chainsaw a motionless lump in her cage. Then, leaving him, Gansey drove to the school. He used his old key code to get into Aglionby’s indoor athletic complex, and then he stripped and swam in the dark pool in the darker room, all sounds strange and hollow at night. He did endless laps as he used to do when he had first come to the school, back when he had been on the rowing team, back when he had sometimes come earlier than even rowing practice to swim. He had nearly forgotten what it felt like to be in the water: It was as if his body didn’t exist; he was just a borderless mind. He pushed himself off a barely visible wall and headed towards the even less visible opposite one, no longer quite able to hold on to his concrete concerns. School, Headmaster Child, even Glendower. He was only this current minute. Why had he given this up? He couldn’t remember even that. In the dark water he was only Gansey, now. He’d never died, he wasn’t going to die again. He was only Gansey, now, now, only now. He could not see him, but Noah stood on the edge of the pool and watched. He had been a swimmer himself, once.

Decades after that day in the therapist’s office, Donald Trump was elected president. A friend called me and said, “This is the apocalypse. This is the end of our country as we know it.” I said, “I hope so. Apocalypse means uncovering. Gotta uncover before you can recover.” She said, “Oh, God, not more recovery talk. Not now.” “No, listen—this feels to me like we’ve hit rock bottom! Maybe that means we’re finally ready for the steps. Maybe we’ll admit that our country has become unmanageable. Maybe we’ll take a moral inventory and face our open family secret: that this nation—founded upon ‘liberty and justice for all’—was built while murdering, enslaving, raping, and subjugating millions. Maybe we’ll admit that liberty and justice for all has always meant liberty for white straight wealthy men. Then maybe we’ll gather the entire family at the table—the women and the gay and black and brown folks and those in power—so that we can begin the long, hard work of making amends. I’ve seen this process heal people and families. Maybe our nation can heal this way, too.

I stopped looking at the cars after the first few miles. Once I started to see past the exteriors, I saw what lay inside some of them and felt the urge to sprint to the nearest freeway exit. Some people had tried to outrun The Plague by leaving town. They hadn't realized the illness could still find them in their cars, and now the 405 was one of the largest graveyards in the world. I thought for a moment about all of the other cities across the globe that probably had scenes just like this. My eyes stung, wondering if my mother, my dad, or any of my friends were in similar graveyards. I made the mistake of glancing into an overturned Volkswagen Beetle as I passed and saw a pair of legs clad in jeans and white Jack Purcell sneakers in the shadows of the car. They reminded me of Sarah's shoes. The man who laced those up that morning hadn't realized he wouldn't be taking them off again.

Some midnight-of-all or other [apocalypse] was predicted every few days or nights. Most came to nothing, leaving relevant prophets cringing with a unique embarrassment as the sum rose. It was a very particular shame, that of now ex-worshippers avoiding each other's eyes in the unexpected aftermath of 'final' acts -- crimes, admissions, debaucheries and abandon.

[..] as midnight inevitably came and went without the horsemen of the apocalypse making an appearance, Clara surprised herself by falling into a melancholy. For ridding oneself of faith is like boiling sea-water to retrieve the salt something is gained but something is lost. Though her friends Merlin, Wan-Si, et al. clapped her on the back and congratulated her for exorcizing those fervid dreams of perdition and redemption, Clara quietly mourned the warmer touch she had waited for these nineteen years, the all-enveloping bear hug of the Saviour, the One who was Alpha and Omega, both the beginning and the end; the man who was meant to take her away from all this, from the listless reality of life in a ground-floor flat in Lambeth. What now for Clara? Ryan would find another fad; Darcus need only turn to the other channel; for Hortense another date would of course materialize, along with more leaflets, ever more faith. But Clara was not like Hortense. Yet a residue, left over from the evaporation of Clara's faith, remained. She still wished for a saviour. She still wished for a man to whisk her away, to choose her above others so that she might Walk in white with Him: for [she] was worthy. Revelation 3:4.

The kingdom of the world is becoming the kingdom of God, and it doesn't depend upon our acknowledgement or faithfulness to it within our highly-charged present. It's coming anyway. It is and was and is to come. We have the privilege of watching and praying and noticing in the glorious meantime, especially in what appear to be the unlikeliest of corners. To reimagine now is our work and our pleasure. Look harder. It is at hand.

This plague... This curse... I have an idea where it came from. I don't think it's from any spell or virus or nuclear rays. I think it's from a deeper place. I think we brought it here. I think we crushed ourselves down over the centuries. Buried ourselves under greed and hate and whatever other sins we could find until our souls finally hit the rock bottom of the universe. And then they scraped a hole through it, into some... dark place. We released it. We poked through the seabed and the oil erupted, painted us black, pulled our inner sickness out for everyone to see. Now here we are in this dry corpse of a world, rotting on our feet till there's nothing left but bones and the buzz of flies.

Worrying about what does not yet exist, is that a gesture of love or the worst kind of argument putting pressure on the living, an excess of scrupulous conscience? For fear of soiling our hands, we prefer to cut them off right now. [...] How far can responsibility go without turning into an abstraction? To extend it to all coming generations is to empty it of its meaning, to put a titanic weight on our shoulders. By being accountable for everything, we are accountable for nothing. We can receive no pardon for our errors, since those who would be in a position to grant it have not yet been born! A vicious circle: isn't sacrificing people today for the benefit of those to come also a way of penalizing the latter [...]?

Why would God have inspired the words of the Bible if he chose not to preserve these words for posterity? Put differently, what should make me think he had inspired the words in the first place if I knew for certain (as I did) that he had not preserved them? This became a major problem for me in trying to figure out which Bible I thought was inspired. Another big problem is one that I don’t deal with in Misquoting Jesus. If God inspired certain books in the decades after Jesus died, how do I know that the later church fathers chose the right books to be included in the Bible? I could accept it on faith—surely God would not allow noninspired books in the canon of Scripture. But as I engaged in more historical study of the early Christian movement, I began to realize that there were lots of Christians in lots of places who fully believed that other books were to be accepted as Scripture; conversely, some of the books that eventually made it into the canon were rejected by church leaders in different parts of the church, sometimes for centuries. In some parts of the church, the Apocalypse of John (the book of Revelation) was flat out rejected as containing false teaching, whereas the Apocalypse of Peter, which eventually did not make it in, was accepted. There were some Christians who accepted the Gospel of Peter and some who rejected the Gospel of John. There were some Christians who accepted a truncated version of the Gospel of Luke (without its first two chapters), and others who accepted the now noncanonical Gospel of Thomas. Some Christians rejected the three Pastoral Epistles of 1 and 2 Timothy and Titus, which eventually made it in, and others accepted the Epistle of Barnabas, which did not. If God was making sure that his church would have the inspired books of Scripture, and only those books, why were there such heated debates and disagreements that took place over three hundred years? Why didn’t God just make sure that these debates lasted weeks, with assured results, rather than centuries?1

The Apocalypse gave you your time back. The time you can now use to look, to see, and to focus on your conscious process of cognitive evolution.” Master repeats the word ‘see’ in three local synonyms. Back then, they thought they all meant the same. Except, they didn’t. “The Apocalypse took your society, responsibilities, and useless recreations. Those were the distractions. Those things slow the process,” Master continues in the scene, the side of his face glowing from the daylight entering the cave. The visual details are as much as his brain retrieved from his memory. “Is this why monks hate recreation? Society?” Ruem asks—he looks just as Yuan’s memory recollected Ruem’s teenage self. “They don’t hate recreation,” Master says in the scene. “They just know they have to hate it.” “So, you like recreation?” Ruem asks in a confused tone. “Did I say I am a monk?” Master replies in the scene. “You never answer the question!” Ruem sounds annoyed. And for a moment, it makes the Monk—wrapped in the old shawl—smile as he watches his own old memory, remembering how impatient they both were before. “Fine,” Master begins. “The monks force themselves out of recreation because the rulebooks tell them to. People only follow rulebooks. But they don’t know why they should follow them. They don’t look at the true purpose of their rituals. They blindly follow, evolving neither spiritually nor physically.” “So, we should accept recreation, society?” asks Yuan’s teenage self, in the hologram scene. “Yes and No, my boy. It’s a perspective. You can find the secret from wherever you are as long as you aren’t drunk on indulgence, distracted from the One.” “Master, do you know why you wear orange cloth?” Ruem asks. “You caught me, my boy!” says Master, chuckling. “No, I don’t know. I wore it because the rulebooks told me to. Now it doesn’t matter which color I wear. No need for pointless rebellion over some uniform color!” “Because everything is the same?” Yuan’s teenage self asks. “Because everything is One.” Master’s eyes twinkle.

You guys could handle this on your own. Why risk getting kicked out of your He-Man-Monster-Haters Club?" "Because we can't handle this on our own. At least I don't think we can." "You said yourself you already have some Prodigium working with you. Why not go to them?" "We have a handful," he said, frustration creeping into his voice. "And most of them suck. Look, just consider it a peace offering, okay? My way of saying I'm sorry for lying to you. And pulling a knife in your presence, even if it was just to open a damn window to get out before you vaporized me." Most girls got flowers. I got a dirt put used for demon raising. Nice. "Thanks," I replied. "But don't you want in on this?" He looked at me, and not for the first time, I wished his eyes weren't so dark. It would have been nice to have some idea of what was going on in his head. "That's up to you," he said. Mom always liked to say that we hardly ever know the decisions we make that change our lives,mostly because they're little ones. You take this bus instead of that one and end up meeting your soul mate, that kind of thing. But there was no doubt in my mind that this was one of those life-changing moments. Tell Archer no,and I'd never see him again. And Dad and Jenna wouldn't be mad at me, and Cal...Tell Archer yes, and everything suddenly got twistier and more complicated than Mrs. Casnoff's hairdo. And even though I'm a twisty and complicated girl, I knew what my answer had to be. "It's too much of a risk, Cross. Maybe one day when I'm head of the Council, and you're...well, whatever you're going to be for L'Occhio di Dio, we could work on some kind of collaboration." That brought up depressig images of me and Archer sittig across a boardroom table, sketching out battle plans on a whiteboard, so my voice was a little shaky when I continued. "But for now, it's too dangerous." And not just because basically everyone in our lives would want to kill us if they found out, I thought. But because I was pretty sure I was still in love with him, and I thought he might feel something similar for me, and there was no way we could work together preventing the Monster Apocalypse/World War III without that becoming an issue. Not that I could say any of that. Archer's face was blank as he said, "Cool. Got it." "Cross," I started to say, but then his eyes slid past me and went wide with horror. At the same time, I became aware of a slithering noice behind me. That just could not be good; in my experience, nothing pleasant slithers. Still, I was not prepared for the nightmares climbing out of the crater.

Their conversation ceased abruptly with the entry of an oddly-shaped man whose body resembled a certain vegetable. He was a thickset fellow with calloused and jaundiced skin and a patch of brown hair, a frizzy upheaval. We will call him Bell Pepper. Bell Pepper sidled up beside The Drippy Man and looked at the grilled cheese in his hand. The Drippy Man, a bit uncomfortable at the heaviness of the gaze, politely apologized and asked Bell Pepper if he would like one. “Why is one of your legs fatter than the other?” asked Bell Pepper. The Drippy Man realized Bell Pepper was not looking at his sandwich but towards the inconsistency of his leg sizes. “You always get your kicks pointing out defects?” retorted The Drippy Man. “Just curious. Never seen anything like it before.” “I was raised not to feel shame and hide my legs in baggy pants.” “So you flaunt your deformity by wearing short shorts?” “Like you flaunt your pockmarks by not wearing a mask?” Bell Pepper backed away, kicking wide the screen door, making an exit to a porch over hanging a dune of sand that curved into a jagged upward jab of rock. “He is quite sensitive,” commented The Dry Advisor. “Who is he?” “A fellow who once manipulated the money in your wallet but now curses the fellow who does.

Our group pressed west on what was left of Highway 93, toward the pass leading to Las Vegas. Sand covered the road in loose drifts so deep the horses' hooves sank into them. The metal highway signs were bent low by the strong wind, and above us, billboards that once screamed ads for the casinos were now stripped of their promises of penny slots and large jackpots. The raw boards underneath were exposed, like showgirls without their makeup. Some signs had been blown over completely and lay half-buried under mounds of sand, like sleeping animals. Cars dotted the highway, their paint scoured off and dead tumbleweeds caught underneath them. Their windows were fogged with death, and despite my effort not to look, my eyes were drawn to the blurred images of the still forms inside. I tried to concentrate on the dark road ahead of us instead.

What, then, can Shakespearean tragedy, on this brief view, tell us about human time in an eternal world? It offers imagery of crisis, of futures equivocally offered, by prediction and by action, as actualities; as a confrontation of human time with other orders, and the disastrous attempt to impose limited designs upon the time of the world. What emerges from Hamlet is--after much futile, illusory action--the need of patience and readiness. The 'bloody period' of Othello is the end of a life ruined by unseasonable curiosity. The millennial ending of Macbeth, the broken apocalypse of Lear, are false endings, human periods in an eternal world. They are researches into death in an age too late for apocalypse, too critical for prophecy; an age more aware that its fictions are themselves models of the human design on the world. But it was still an age which felt the human need for ends consonant with the past, the kind of end Othello tries to achieve by his final speech; complete, concordant. As usual, Shakespeare allows him his tock; but he will not pretend that the clock does not go forward. The human perpetuity which Spenser set against our imagery of the end is represented here also by the kingly announcements of Malcolm, the election of Fortinbras, the bleak resolution of Edgar. In apocalypse there are two orders of time, and the earthly runs to a stop; the cry of woe to the inhabitants of the earth means the end of their time; henceforth 'time shall be no more.' In tragedy the cry of woe does not end succession; the great crises and ends of human life do not stop time. And if we want them to serve our needs as we stand in the middest we must give them patterns, understood relations as Macbeth calls them, that defy time. The concords of past, present, and future towards which the soul extends itself are out of time, and belong to the duration which was invented for angels when it seemed difficult to deny that the world in which men suffer their ends is dissonant in being eternal. To close that great gap we use fictions of complementarity. They may now be novels or philosophical poems, as they once were tragedies, and before that, angels. What the gap looked like in more modern times, and how more modern men have closed it, is the preoccupation of the second half of this series.

Anything approaching the change that came over his features i have never seen before and hope to never see again. Oh, I wasn't touched. I was fascinated. It was as though a veil had been rent. I saw on that ivory face the expression of sombre pride, of ruthless power, of craven terror, of intense and hopeless despair. Did he live his life again in every detail of desire, temptation, and surrender during that Supreme moment of complete knowledge? He cried in a whisper at some image, at some vision, he cried twice, a cry that was no more than a breath.. "The Horror! The Horror!

When I wasn’t in the barn garden, helping out, sorting seeds or checking hoses I’d spend time alone, usually in the bathroom adjacent to Joel’s room, staring into the shattered mirror as my hand gently caressed my baby bump. More often than not I would cry. Not because my pregnancy upset me, or that my hormones were getting the better of me, but because I missed Joel, my baby’s father. That the baby would grow up without a dad made me anxious. Then again, if he had survived, what irreparable damage would he have suffered and how would his pain translate to his child? Jesus, I was studying myself in the very mirror he’d smashed the night he chose to take his own life. The bump had grown slowly in the last couple of months. With these limited resources, I didn’t have the privilege of eating whatever I craved. Had that been the case, I was sure I would have been bigger by now. Still, I tried to eat as well and as often as I could and the size of my belly had proven that my attempts at proper nutrition were at least growing something in there. Nothing made me happier than feeling my baby move. It was a constant source of relief for me. In our present circumstances, with no vitamins and barely any meat products save the recent stash of jerky Earl had found in an abandoned trailer, my diet consisted of berries, lettuce, and canned beans for the most part. Feeling the baby move inside me was an experience I often enjoyed alone. I would think of Joel then as well. Imagining his hand on my belly, with mine guiding his to the kicks and punches.

It is already the fashion to diminish Eliot by calling him derivative, the mouthpiece of Pound, and so forth; and yet if one wanted to understand the apocalypse of early modernism in its true complexity it would be Eliot, I fancy, who would demand one's closest attention. He was ready to rewrite the history of all that interested him in order to have past and present conform; he was a poet of apocalypse, of the last days and the renovation, the destruction of the earthly city as a chastisement of human presumption, but also of empire. Tradition, a word we especially associate with this modernist, is for him the continuity of imperial deposits; hence the importance in his thought of Virgil and Dante. He saw his age as a long transition through which the elect must live, redeeming the time. He had his demonic host, too; the word 'Jew' remained in lower case through all the editions of the poems until the last of his lifetime, the seventy-fifth birthday edition of 1963. He had a persistent nostalgia for closed, immobile hierarchical societies. If tradition is, as he said in After Strange Gods--though the work was suppressed--'the habitual actions, habits and customs' which represent the kinship 'of the same people living in the same place' it is clear that Jews do not have it, but also that practically nobody now does. It is a fiction, a fiction cousin to a myth which had its effect in more practical politics. In extenuation it might be said that these writers felt, as Sartre felt later, that in a choice between Terror and Slavery one chooses Terror, 'not for its own sake, but because, in this era of flux, it upholds the exigencies proper to the aesthetics of Art.' The fictions of modernist literature were revolutionary, new, though affirming a relation of complementarity with the past. These fictions were, I think it is clear, related to others, which helped to shape the disastrous history of our time. Fictions, notably the fiction of apocalypse, turn easily into myths; people will live by that which was designed only to know by. Lawrence would be the writer to discuss here, if there were time; apocalypse works in Woman in Love, and perhaps even in Lady Chatterley's Lover, but not n Apocalypse, which is failed myth. It is hard to restore the fictive status of what has become mythical; that, I take it, is what Mr. Saul Bellow is talking about in his assaults on wastelandism, the cant of alienation. In speaking of the great men of early modernism we have to make very subtle distinctions between the work itself, in which the fictions are properly employed, and obiter dicta in which they are not, being either myths or dangerous pragmatic assertions. When the fictions are thus transformed there is not only danger but a leak, as it were, of reality; and what we feel about. all these men at times is perhaps that they retreated inso some paradigm, into a timeless and unreal vacuum from which all reality had been pumped. Joyce, who was a realist, was admired by Eliot because he modernized myth, and attacked by Lewis because he concerned himself with mess, the disorders of common perception. But Ulysses ,alone of these great works studies and develops the tension between paradigm and reality, asserts the resistance of fact to fiction, human freedom and unpredictability against plot. Joyce chooses a Day; it is a crisis ironically treated. The day is full of randomness. There are coincidences, meetings that have point, and coincidences which do not. We might ask whether one of the merits of the book is not its lack of mythologizing; compare Joyce on coincidence with the Jungians and their solemn concordmyth, the Principle of Synchronicity. From Joyce you cannot even extract a myth of Negative Concord; he shows us fiction fitting where it touches. And Joyce, who probably knew more about it than any of the others, was not at tracted by the intellectual opportunities or the formal elegance of fascism.

We are all poor; but there is a difference between what Mrs. Spark intends by speaking of 'slender means', and what Stevens called our poverty or Sartre our need, besoin. The poet finds his brief, fortuitous concords, it is true: not merely 'what will suffice,' but 'the freshness of transformation,' the 'reality of decreation,' the 'gaiety of language.' The novelist accepts need, the difficulty of relating one's fictions to what one knows about the nature of reality, as his donnée. It is because no one has said more about this situation, or given such an idea of its complexity, that I want to devote most of this talk to Sartre and the most relevant of his novels, La Nausée. As things go now it isn't of course very modern; Robbe-Grillet treats it with amused reverence as a valuable antique. But it will still serve for my purposes. This book is doubtless very well known to you; I can't undertake to tell you much about it, especially as it has often been regarded as standing in an unusually close relation to a body of philosophy which I am incompetent to expound. Perhaps you will be charitable if I explain that I shall be using it and other works of Sartre merely as examples. What I have to do is simply to show that La Nausée represents, in the work of one extremely important and representative figure, a kind of crisis in the relation between fiction and reality, the tension or dissonance between paradigmatic form and contingent reality. That the mood of Sartre has sometimes been appropriate to the modern demythologized apocalypse is something I shall take for granted; his is a philosophy of crisis, but his world has no beginning and no end. The absurd dishonesty of all prefabricated patterns is cardinal to his beliefs; to cover reality over with eidetic images--illusions persisting from past acts of perception, as some abnormal children 'see' the page or object that is no longer before them --to do this is to sink into mauvaise foi. This expression covers all comfortable denials of the undeniable--freedom --by myths of necessity, nature, or things as they are. Are all the paradigms of fiction eidetic? Is the unavoidable, insidious, comfortable enemy of all novelists mauvaise foi? Sartre has recently, in his first instalment of autobiography, talked with extraordinary vivacity about the roleplaying of his youth, of the falsities imposed upon him by the fictive power of words. At the beginning of the Great War he began a novel about a French private who captured the Kaiser, defeated him in single combat, and so ended the war and recovered Alsace. But everything went wrong. The Kaiser, hissed by the poilus, no match for the superbly fit Private Perrin, spat upon and insulted, became 'somehow heroic.' Worse still, the peace, which should instantly have followed in the real world if this fiction had a genuine correspondence with reality, failed to occur. 'I very nearly renounced literature,' says Sartre. Roquentin, in a subtler but basically similar situation, has the same reaction. Later Sartre would find again that the hero, however assiduously you use the pitchfork, will recur, and that gaps, less gross perhaps, between fiction and reality will open in the most close-knit pattern of words. Again, the young Sartre would sometimes, when most identified with his friends at the lycée, feel himself to be 'freed at last from the sin of existing'--this is also an expression of Roquentin's, but Roquentin says it feels like being a character in a novel. How can novels, by telling lies, convert existence into being? We see Roquentin waver between the horror of contingency and the fiction of aventures. In Les Mots Sartre very engagingly tells us that he was Roquentin, certainly, but that he was Sartre also, 'the elect, the chronicler of hells' to whom the whole novel of which he now speaks so derisively was a sort of aventure, though what was represented within it was 'the unjustified, brackish existence of my fellow-creatures.

Only a fool says in his heart There is no Creator, no King of kings, Only mules would dare to bray These lethal mutterings. Over darkened minds as these The Darkness bears full sway, Fruitless, yet, bearing fruit, In their fell, destructive way. Sterile, though proliferate, A filthy progeny sees the day, When Evil, Thought and Action mate: Breeding sin, rebels and decay. The blackest deeds and foul ideals, Multiply throughout the earth, Through deadened, lifeless, braying souls, The Darkness labours and gives birth. Taking the Lord’s abundant gifts And rotting them to the core, They dress their dish and serve it out Foul seeds to infect thousands more. ‘The Tree of Life is dead!’ they cry, ‘And that of Knowledge not enough, Let us glut on the ashen apples Of Sodom and Gomorrah.’ Have pity on Thy children, Lord, Left sorrowing on this earth, While fools and all their kindred Cast shadows with their murk, And to the dwindling wise, They toss their heads and wryly smirk. The world daily grinds to dust Virtue’s fair unicorns, Rather, it would now beget Vice’s mutant manticores. Wisdom crushed, our joy is gone, Buried under anxious fears For lost rights and freedoms, We shed many bitter tears. Death is life, Life is no more, Humanity buried in a tomb, In a fatal prenatal world Where tiny flowers Are ripped from the womb, Discarded, thrown away, Inconvenient lives That barely bloomed. Our elders fare no better, Their wisdom unwanted by and by, Boarded out to end their days, And forsaken are left to die. Only the youthful and the useful, In this capital age prosper and fly. Yet, they too are quickly strangled, Before their future plans are met, Professions legally pre-enslaved Held bound by mounting student debt. Our leaders all harangue for peace Yet perpetrate the horror, Of economic greed shored up Through manufactured war. Our armies now welter In foreign civilian gore. How many of our kin are slain For hollow martial honour? As if we could forget, ignore, The scourge of nuclear power, Alas, victors are rarely tried For their woeful crimes of war. Hope and pray we never see A repeat of Hiroshima. No more! Crimes are legion, The deeds of devil-spawn! What has happened to the souls Your Divine Image was minted on? They are now recast: Crooked coins of Caesar and The Whore of Babylon. How often mankind shuts its ears To Your music celestial, Mankind would rather march To the anthems of Hell. If humanity cannot be reclaimed By Your Mercy and great Love Deservedly we should be struck By Vengeance from above. Many dread the Final Day, And the Crack of Doom For others the Apocalypse Will never come too soon. ‘Lift up your heads, be glad’, Fools shall bray no more For at last the Master comes To thresh His threshing floor.