Around The World In Eighty Days Quotes

Anything one man can imagine, other men can make real.

In quoting others, we cite ourselves.

Memory is a mirror that scandalously lies.

I say, you do have a heart!" "Sometimes," he replied, "when I have the time.

All profound distraction opens certain doors. You have to allow yourself to be distracted when you are unable to concentrate.

I sometimes longed for someone who, like me, had not adjusted perfectly with his age, and such a person was hard to find; but I soon discovered cats, in which I could imagine a condition like mine, and books, where I found it quite often.

The chance which now seems lost may present itself at the last moment.

I see that it is by no means useless to travel, if a man wants to see something new

Wordplay hides a key to reality that the dictionary tries in vain to lock inside every free word.

Why, you are a man of heart!" "Sometimes," replied Phileas Fogg, quietly. "When I have the time.

A true Englishman doesn't joke when he is talking about so serious a thing as a wager.

We no longer believe because it is absurd: it is absurd because we must believe.

But what then? What had he really gained by all this trouble? What had he brought back from this long and weary journey? Nothing, you say? Perhaps so; nothing but a charming woman, who, strange as it may appear, made him the happiest of men! Truly, would you not for less than that make the tour around the world?

(memory is) A strange echo, which stores its replicas according to some other acoustic than consciousness or expectation.

It may be taken for granted that, rash as the Americans are, when they are prudent there is good reason for it.

A well-used minimum suffices for everything.

We know that attention acts as a lightning rod. Merely by concentrating on something one causes endless analogies to collect around it, even penetrate the boundaries of the subject itself: an experience that we call coincidence, serendipity – the terminology is extensive. My experience has been that in these circular travels what is really significant surrounds a central absence, an absence that, paradoxically, is the text being written or to be written.

It's really useful to travel, if you want to see new things.

Memory weaves and traps us at the same time according to a scheme in which we do not participate: we should never speak of our memory, for it is anything but ours; it works on its own terms, it assists us while deceiving us or perhaps deceives up to assist us.

An admirable line of Pablo Neruda’s, “My creatures are born of a long denial,” seems to me the best definition of writing as a kind of exorcism, casting off invading creatures by projecting them into universal existence, keeping them on the other side of the bridge… It may be exaggerating to say that all completely successful short stories, especially fantastic stories, are products of neurosis, nightmares or hallucination neutralized through objectification and translated to a medium outside the neurotic terrain. This polarization can be found in any memorable short story, as if the author, wanting to rid himself of his creature as soon and as absolutely as possible, exorcises it the only way he can: by writing it.

For me the thing that signals a great story is what we might call its autonomy, the fact that it detaches itself from its author like a soap bubble blown from a clay pipe.

I think it is vanity to want to put into a story anything but the story itself.

But Phileas Fogg, who was not traveling, but only describing a circumfrence,...

As for Phileas Fogg, it seemed just as if the typhoon were a part of his programme

Now that I think about it, it seems to me that’s what Idiocy is: the ability to be enthusiastic all the time about anything you like, so that a drawing on the wall does not have to be diminished by the memory of the frescoes of Giotto in Padua.

A minimum put to good use is enough for anything.

Mr. Fogg played, not to win, but for the sake of playing.

The mysterious does not spell itself out in capital letters, as many writers believe, but is always between, an interstice.

Skill alone cannot teach or produce a great short story, which condenses the obsession of the creature; it is a hallucinatory presence manifest from the first sentence to fascinate the reader, to make him lose contact with the dull reality that surrounds him, submerging him in another that is more intense and compelling.

Nothing is more comical than seriousness understood as a virtue that has to precede all important literature

The more a book is like an opium pipe, the more the Chinaman reader is satisfied with it and tends to discuss the quality of the drug rather than its lethargic effects.

The modern story begun, one might say, with Edgar Allan Poe, which proceeds inexorably, like a machine destined to accomplish its mission with the maximum economy of means.

IN WHICH PASSEPARTOUT RECEIVES A NEW PROOF THAT FORTUNE FAVORS THE BRAVE

Anyone who finds himself incapable of grasping the complexities of a work hides his withdrawal behind the most superficial pretext because he has not gotten past the surface.

Was he being devoured by one of those secret rages, all the more terrible because contained, and which only burst forth, with irresistible force, at the last moment?

As for seeing the town, the idea never occurred to him, for he was the sort of Englishman who, on his travels, gets his servant to do his sightseeing for him.

The fantastic breaks the crust of appearance … something grabs us by the shoulders to throw us outside ourselves. I have always known that the big surprises await us where we have learned to be surprised by nothing, that is, where we are not shocked by ruptures in the order.

I am talking about the responsibility of the poet, who is irresponsible by definition, an anarchist enamored of a solar order and never of the new order or whatever slogan makes five or six hundred million men march in step in a parody of order.

Phileas Fogg, having shut the door of his house at half-past eleven, and having put his right foot before his left five hundred and seventy-five times, and his left foot before his right five hundred and seventy-six times, reached the Reform Club

The archive of supposed photocopies (I.E. memory) actually offers up strange creatures; the green paradise of childhood loves that Baudelaire recalled is for many a future in reverse, an obverse of hope in the face of the gray purgatory of adult loves.

One single supporter remained faithful to him: an old paralytic, Lord Albermarle. The noble lord, confined to his armchair, would have given his whole fortune to be able to travel around the world, in ten years even; and he bet four thousand pounds on Phileas Fogg.

The library was one of the few places approved by my mother. I must have read almost every book in that place, living a thousand lives on paper, traveling around the world in eighty days and through the looking glass.

The best literature is always a take [in the musical sense]; there is an implicit risk in its execution, a margin of danger that is the pleasure of the flight, of the love, carrying with it a tangible loss but also a total engagement that, on another level, lends the theater its unparalleled imperfection faced with the perfection of film. I don’t want to write anything but takes.

In the twentieth century nothing can better cure the anthropocentrism that is the author of all our ills than to cast ourselves into the physics of the infinitely large (or the infinitely small).

In the twentieth century nothing can better cure the anthropocentrism that is the author of all our ills than to cast ourselves into the physics of the infinitely large (or the infinitely small). By reading any text of popular science we quickly regain the sense of the absurd, but this time it is a sentiment that can be held in our hands, born of tangible, demonstrable, almost consoling things. We no longer believe because it is absurd: it is absurd because we must believe.

...why, I've just this instant found out... that we might have gone around the world in only seventy-eight days.

The unforeseen does not exist,

When Jules Verne was on everyone’s nightstand, Pulitzer ordered daredevil reporter Nellie Bly to travel around the world in eighty days; she accomplished it in seventy-two.

Thirsty for being, the poet ceaselessly reaches out to reality, seeking with the indefatigable harpoon of the poem a reality that is always better hidden, more re(g)al. The poem’s power is as an instrument of possession but at the same time, ineffably, it expresses the desire for possession, like a net that fishes by itself, a hook that is also the desire of the fish. To be a poet is to desire and, at the same time, to obtain, in the exact shape of the desire.

Passepartout was astounded, and, though ready to attempt anything to get over Medicine Creek, thought the experiment proposed a little too American.

The game was in his eyes a contest, a struggle with a difficulty, yet a motionless, unwearying struggle, congenial to his tastes.

His countenance possessed in the highest degree what physiognomists call "repose in action," a quality of those who act rather than talk.

Mr. Fogg accordingly tasted the dish, but, despite its spiced sauce, found it far from palatable. He rang for the landlord, and, on his appearance, said, fixing his clear eyes upon him, "Is this rabbit, sir?" "Yes, my lord," the rogue boldly replied, "rabbit from the jungles." "And this rabbit did not mew when he was killed?" "Mew, my lord! What, a rabbit mew! I swear to you—" "Be so good, landlord, as not to swear, but remember this: cats were formerly considered, in India, as sacred animals. That was a good time." "For the cats, my lord?" "Perhaps for the travellers as well!

I knew I had an ugly life. I knew I was lonely and I was scared. I thought something might be wrong with my father, wrong in the worst possible way. I believed he might contain a pathology of the mind--an emptiness--a knocking hollow where his soul should have been. But I also knew that one day, I would grow up. One day, I would be twenty, or thirty, or forty, even fifty and sixty and seventy and eighty and maybe even one hundred years old. And all those years were mine, they belonged to nobody but me. So even if I was unhappy now, it could all change tomorrow. Maybe I didn't even need to jump off the cliff to experience that kind of freedom. Maybe the fact that I knew such a freedom existed in the world meant that I could someday find it. Maybe, I thought, I don't need a father to be happy. Maybe, what you get from a father you can get somewhere else, from somebody else, later. Or maybe you can just work around what's missing, build the house of your life over the hole that is there and always will be.

…no toda recaída va de arriba abajo, porque arriba y abajo no quieren decir gran cosa cuando ya no se sabe donde se está.

Her shining tresses, divided in two parts, encircle the harmonious contour of her white and delicate cheeks, brilliant in their glow and freshness. Her ebony brows have the form and charm of the bow of Kama, the god of love, and beneath her long silken lashes the purest reflections and a celestial light swim, as in the sacred lakes of Himalaya, in the black pupils of her great clear eyes. Her teeth, fine, equal, and white, glitter between her smiling lips like dewdrops in a passion-flower's half-enveloped breast. Her delicately formed ears, her vermilion hands, her little feet, curved and tender as the lotus-bud, glitter with the brilliancy of the loveliest pearls of Ceylon, the most dazzling diamonds of Golconda. Her narrow and supple waist, which a hand may clasp around, sets forth the outline of her rounded figure and the beauty of her bosom, where youth in its flower displays the wealth of its treasures; and beneath the silken folds of her tunic she seems to have been modelled in pure silver by the godlike hand of Vicvarcarma, the immortal sculptor.

Aouda fastened her great eyes, “clear as the sacred lakes of the Himalaya,” upon him; but the intractable Fogg, as reserved as ever, did not seem at all inclined to throw himself into this lake.

All European writers are ‘slaves of their baptism,’ if I may paraphrase Rimbaud; like it or not, their writing carries baggage from an immense and almost frightening tradition; they accept that tradition or they fight against it, it inhabits them, it is their familiar and their succubus. Why write, if everything has, in a way, already been said? Gide observed sardonically that since nobody listened, everything has to be said again, yet a suspicion of guilt and superfluity leads the European intellectual to the most extreme refinements of his trade and tools, the only way to avoid paths too much traveled. Thus the enthusiasm that greets novelties, the uproar when a writer has succeeded in giving substance to a new slice of the invisible; merely recall symbolism, surrealism, the ‘nouveau roman’: finally something truly new that neither Ronsard, nor Stendahl , nor Proust imagined. For a moment we can put aside our guilt; even the epigones begin too believe they are doing something new. Afterwards, slowly, they begin to feel European again and each writer still has his albatross around his neck.

All established order forms a line of resistance against the threat of rupture and places its meager forces at the service of continuity. That everything should continue as usual is the bourgeois standard of a reality that is indeed bourgeois precisely because it is a standard.

It was at least certain that Phileas Fogg had not absented himself from London for many years.

If one is traveling simply for the sake of traveling,” Bly liked to say, “and not for the purpose of impressing fellow travelers, the problem of baggage becomes a very simple one.

The latter, without a word, made a rush for him, grasped him by the throat, and, much to the amusement of a group of Americans, who immediately began to bet on him, administered to the detective a perfect volley of blows, which proved the great superiority of French over English pugilistic skill.

It may be taken for granted that, rash as the Americans usually are, when they are prudent there is good reason for it.

A free American girl can accommodate herself to circumstances without the aid of a man.” -Nellie Bly

A true Englishman never jokes when he has a stake depending on the matter.

I realise now that there’s a lot to be said for traveling if you want to see something new.

But as it is only human nature to attempt to find an explanation for everything…

Dress is a great weapon in the hands of a woman if rightly applied. It is a weapon men lack, so women should make the most of it.

Jules Verne AROUND THE WORLD IN EIGHTY DAYS

There was no Disney World then, just rows of orange trees. Millions of them. Stretching for miles And somewhere near the middle was the Citrus Tower, which the tourists climbed to see even more orange trees. Every month an eighty-year-old couple became lost in the groves, driving up and down identical rows for days until they were spotted by helicopter or another tourist on top of the Citrus Tower. They had lived on nothing but oranges and come out of the trees drilled on vitamin C and checked into the honeymoon suite at the nearest bed-and-breakfast. "The Miami Seaquarium put in a monorail and rockets started going off at Cape Canaveral, making us feel like we were on the frontier of the future. Disney bought up everything north of Lake Okeechobee, preparing to shove the future down our throats sideways. "Things evolved rapidly! Missile silos in Cuba. Bales on the beach. Alligators are almost extinct and then they aren't. Juntas hanging shingles in Boca Raton. Richard Nixon and Bebe Rebozo skinny-dipping off Key Biscayne. We atone for atrocities against the INdians by playing Bingo. Shark fetuses in formaldehyde jars, roadside gecko farms, tourists waddling around waffle houses like flocks of flightless birds. And before we know it, we have The New Florida, underplanned, overbuilt and ripe for a killer hurricane that'll knock that giant geodesic dome at Epcot down the trunpike like a golf ball, a solid one-wood by Buckminster Fuller. "I am the native and this is my home. Faded pastels, and Spanish tiles constantly slipping off roofs, shattering on the sidewalk. Dogs with mange and skateboard punks with mange roaming through yards, knocking over garbage cans. Lunatics wandering the streets at night, talking about spaceships. Bail bondsmen wake me up at three A.M. looking for the last tenant. Next door, a mail-order bride is clubbed by a smelly ma in a mechanic's shirt. Cats violently mate under my windows and rats break-dance in the drop ceiling. And I'm lying in bed with a broken air conditioner, sweating and sipping lemonade through a straw. And I'm thinking, geez, this used to be a great state. "You wanna come to Florida? You get a discount on theme-park tickets and find out you just bough a time share. Or maybe you end up at Cape Canaveral, sitting in a field for a week as a space shuttle launch is canceled six times. And suddenly vacation is over, you have to catch a plane, and you see the shuttle take off on TV at the airport. But you keep coming back, year after year, and one day you find you're eighty years old driving through an orange grove.

But what then? What had he really gained by all this trouble? What had he brought back from this long and weary journey? Nothing, say you? Perhaps so;...Truly, would you not for less than that go around the world?

You have plenty of time; it's only twelve o'clock." Passepartout pulled out his big watch. "Twelve!" he exclaimed; "why, it's only eight minutes before ten." "Your watch is slow." "My watch? A family watch, monsieur, which has come down from my great-grandfather! It doesn't vary five minutes in the year. It's a perfect chronometer, look you." "I see how it is," said Fix. "You have kept London time, which is two hours behind that of Suez. You ought to regulate your watch at noon in each country." "I regulate my watch? Never!" "Well, then, it will not agree with the sun." "So much the worse for the sun, monsieur. The sun will be wrong, then!

The mansion in Saville Row, though not sumptuous, was exceedingly comfortable. The habits of its occupant were such as to demand but little from the sole domestic, but Phileas Fogg required him to be almost superhumanly prompt and regular.

What do you want?" he said to Passe-partout, whom he took for a native. "Do you need a servant, sir?" asked Passe-partout. "A servant!" echoed the Barnum, as he stroked his beard; "I have two, obedient and faithful, who have never left me, and serve me for nothing but nourishment; and here they are," he added, as he extended his brawny arms, on which the great veins stood out like whipcord.

De ce naiba se interpune între viață și literatură un soi de zid al rușinii? În momentul în care începe să lucreze la o povestire sau la un roman, scriitorul tipic își pune guler scrobit și se urcă pe dulap. (...) Neghiobii aceștia cred că seriozitatea trebuie să fie solemnă sau să nu mai fie deloc; de parcă Cervantes a fost solemn.

(Later in my journey I was told of an outrageous but apparently successful attempt to bring tourists to Great Nicobar. During the monsoon torrential rain comes down spectacularly. A bright Indian entrepreneur advertised a tour for rich Arabs from the arid Gulf who could sit on their hotel balcony and watch rain for a week. It was a sell-out.)

But this man of nerve manifested neither impatience nor annoyance; it seemed as if the storm were a part of his programme, and had been foreseen.

. His countenance possessed in the highest degree what physiognomists call “repose in action,” a quality of those who act rather than talk.

- Mas afinal sempre tem coração, senhor Fogg! - exclamou Sir Francis Cromarty. - Às vezes - observou aquele com simplicidade. - Quando há tempo.

Curiosissimo, curiosissimo!" diceva tra sé Passepartout nel ritornare a bordo. "Mi accorgo che, quando si vogliono vedere cose nuove, viaggiare non è inutile.

sage

whenever he knew that money was needed for a noble, useful, or benevolent purpose, he supplied it quietly and sometimes anonymously.

It is the eternal story of the unappreciated inventor, to whom the indifferent or envious refuse the means of testing his inventions, to pay him the value he sets upon them.

superfluous

Moneyed

with the additional sum of five hundred and fifty pounds, ascended the steamer with Aouda and Fix; and they started at once for Nagasaki and Yokohama. They reached their destination

he possessed in the highest degree that moral courage so superior to physical courage—that “two o’clock in the morning courage,” as Napoleon called it—that is to say, the kind that faces the unexpected and is ready for action

You can work it out by Fractions or by simple Rule of Three, But the way of Tweedle-dum is not the way of Tweedle-dee. You can twist it, you can turn it, you can plait it till you drop, But the way of Pilly Winky’s not the way of Winkie Pop!

The cadre expected me to do twenty nine iterations, alternating sixty pushups and eighty flutter kicks—this after a full day of our hardest workout to date. I looked around at my stunned teammates to see if they were up for rushing the instructors and killing them. No. The drops began.

Relationships are physics. Time transforms things- it has to, because the change from me to we means clearing away the fortifications you'r put up around your old personality. Living with Susannah made me feel as if I started riding Einstein's famous theoretical bus. Here's my understanding of that difficult idea, nutshelled: if you're riding a magic Greyhound, equipped for light-speed travel, you'll actually live though less time than will any pedestrians whom the bus passes by. So, for a neighbor on the street with a stopwatch, the superfast bus will take two hours to travel from Point A to Point B. But where you're on that Greyhound, and looking at the wipe of the world out those rhomboidial coach windows, the same trip will take just under twenty-four minutes. Your neighbor, stopwatch under thumb, will have aged eighty-six percent more than you have. It's hard to fathom. But I think it's exactly what adult relationships do to us: on the outside, years pass, lives change. But inside, it's just a day that repeats. You and your partner age at the same clip; it seems not time has gone by. Only when you look up from your relationship- when you step off the bus, feel the ground under your shoes- do you sense the sly, soft absurdity of romance physics.

corrected, with a few clear words, the thousand conjectures advanced by members of the club as to lost and unheard-of travellers, pointing out the true probabilities, and seeming as if gifted with a sort of second sight, so often did events justify his predictions. He must have travelled everywhere, at least in the spirit.

Her shining tresses, divided in two parts, encircle the harmonious contour of her white and delicate cheeks, brilliant in their glow and freshness. Her ebony brows have the form and charm of the bow of Kama, the god of love, and beneath her long silken lashes the purest reflections and a celestial light swim, as in the sacred lakes of Himalaya, in the black pupils of her great clear eyes. Her teeth, fine, equal, and white, glitter between her smiling lips like dewdrops in a passion-flower’s half-enveloped breast. Her delicately formed ears, her vermilion hands, her little feet, curved and tender as the lotus-bud, glitter with the brilliancy of the loveliest pearls of Ceylon, the most dazzling diamonds of Golconda. Her narrow and supple waist, which a hand may clasp around, sets forth the outline of her rounded figure and the beauty of her bosom, where youth in its flower displays the wealth of its treasures; and beneath the silken folds of her tunic she seems to have been modelled in pure silver by the godlike hand of Vicvarcarma, the immortal sculptor.

and that even the faithful must not go in without first leaving their shoes outside the door. It may be said here that the wise policy of the British Government severely punishes a disregard of the practices of the native religions. Passepartout, however, thinking no harm, went in like a simple tourist, and was soon lost in admiration of the splendid Brahmin ornamentation which everywhere met his eyes, when of a sudden he found himself sprawling on the sacred flagging. He looked up to behold three enraged priests, who forthwith fell upon him; tore off his shoes, and began to beat him with loud, savage exclamations. The agile Frenchman was soon upon his feet again, and lost no time in knocking down two of his long-gowned adversaries with his fists and a vigorous application of his toes; then, rushing out of the pagoda as fast as his legs could carry him, he soon escaped the third priest by mingling with the crowd in the streets.

at No. 7, Saville Row, Burlington Gardens, the house in which Sheridan died in 1814. He was one of the most noticeable members of the Reform Club, though he seemed always to avoid attracting attention; an enigmatical personage, about whom little was known, except that he was a polished man of the world. People said that he resembled Byron — at least that his head was Byronic; but he was a bearded, tranquil Byron, who might live on a thousand years without growing old. Certainly an Englishman, it was more doubtful whether Phileas Fogg was a Londoner. He was never seen on ‘Change,

Nietzsche, que era un cronopio como pocos, dijo que sólo los imbéciles no se contradicen tres veces al día. No hablaba de las falsas contradicciones que apenas se rasca un poco son hipocresía deliberada (el señor que da limosna en la calle y explota a cincuenta obreros en su fábrica de paraguas), sino de esa disponibilidad para latir con los cuatro corazones del pulpo cósmico que van cada uno por su lado y cada uno tiene su razón y mueve la sangre y sostiene el universo, ese camaleonismo que todo lector encontrará y amará o aborrecerá en este libro y en cualquier libro donde el poeta rehúsa el coleóptero.

London time, and on regarding that of the countries he had passed through as quite false and unreliable. Now, on this day, though he had not changed the hands, he found that his watch exactly agreed with the ship's chronometers. His triumph was hilarious. He would have liked to know what Fix would say if he were aboard! "The rogue told me a lot of stories," repeated Passepartout, "about the meridians, the sun, and the moon! Moon, indeed! moonshine more likely! If one listened to that sort of people, a pretty sort of time one would keep! I was sure that the sun would some day regulate itself by my watch!" Passepartout was ignorant that, if the face of his watch had been divided into twenty-four hours, like the Italian clocks, he would have no reason for exultation; for the hands of his watch would then, instead of as now indicating nine o'clock in the morning, indicate nine o'clock in the evening, that is, the twenty-first hour after midnight precisely the difference between London time and that of the one hundred and eightieth meridian. But if Fix had been able to explain this purely physical effect, Passepartout would not have admitted, even if he had comprehended it. Moreover, if the detective had been on board at that moment, Passepartout would have joined issue with him on a quite different subject, and in an entirely different manner.

Did he want Nick to die on the floor of his bathroom from an overdose of mentholated rub? Did he want me to spend the last eighty years of my lifespan in a convent? Maybe he was mad that I was trying to sneak out of the house wearing his jeans for the third day in a row. "I am taking Doofus for another walk," I said clearly,daring him to defy me. "That would not be good for Doofus." Josh folded his arms. "Mom,that would not be good for Doofus." Oh! Dragging Mom into this was low.Not to mention Doofus. "Since when is going for a walk not good for a dog?" I challenged Josh. "He's an old dog," Josh protested. "He's four!" I pointed out. "That's twenty-eight in dog years! He's practically thirty!" "Strike!" Mom squealed amid the noise of electronic pins falling. Then she shook her game remote at both of us in turn. "I'm not stupid, you know.And I'm not as out of it as you assume. I know the two of you are really arguing about something else.It's those jeans again, isn't it?" She nodded to me. "I should cut them in half and give each of you a leg.Why does either of you want to wear jeans with 'boy toy' written across the seat anyway?" "I thought that was the fashion." Josh said. "Grandma wears a pair of sweatpants with 'hot mama' written across the ass." "That is different," Mom hissed. "She wears them around the kitchen." I sniffed indignantly. "I said," I announced, "I am goig for a walk with my dog. My beloved canine and I are taking a turn around our fair community. No activity could be more wholesome for a young girl and her pet. And if you have a problem with that,well! What is this world coming to? Come along, dear Doofus." I stuck my nose in the air and stalked past them, but the effect was lost. Somewhere around "our fair community," Mom and Josh both had lost interest and turned back to the TV. Or so I thought.But just as I was about to step outside,hosh appeared in the doorway between the kitchen and the mud room. "What the hell are you doing" he demanded. I said self-righteously, "I am taking my loyal canine for a w-" "You're going to Nick's,aren't you?" he whispered. "Do you think that's a good idea? I heard you yelled at him for no reason at the half-pipe,right before he busted ass.

Nowadays, enormous importance is given to individual deaths, people make such a drama out of each person who dies, especially if they die a violent death or are murdered; although the subsequent grief or curse doesn't last very long: no one wears mourning any more and there's a reason for that, we're quick to weep but quicker still to forget. I'm talking about our countries, of course, it's not like that in other parts of the world, but what else can they do in a place where death is an everyday occurrence. Here, though, it's a big deal, at least at the moment it happens. So-and-so has died, how dreadful; such-and-such a number of people have been killed in a crash or blown to pieces, how terrible, how vile. The politicians have to rush around attending funerals and burials, taking care not to miss any-intense grief, or is it pride, requires them as ornaments, because they give no consolation nor can they, it's all to do with show, fuss, vanity and rank. The rank of the self-important, super-sensitive living. And yet, when you think about it, what right do we have, what is the point of complaining and making a tragedy out of something that happens to every living creature in order for it to become a dead creature? What is so terrible about something so supremely natural and ordinary? It happens in the best families, as you know, and has for centuries, and in the worst too, of course, at far more frequent intervals. What's more, it happens all the time and we know that perfectly well, even though we pretend to be surprised and frightened: count the dead who are mentioned on any TV news report, read the birth and death announcements in any newspaper, in a single city, Madrid, London, each list is a long one every day of the year; look at the obituaries, and although you'll find far fewer of them, because an infinitesimal minority are deemed to merit one, they're nevertheless there every morning. How many people die every weekend on the roads and how many have died in the innumerable battles that have been waged? The losses haven't always been published throughout history, in fact, almost never. People were more familiar with and more accepting of death, they accepted chance and luck, be it good or bad, they knew they were vulnerable to it at every moment; people came into the world and sometimes disappeared at once, that was normal, the infant mortality rate was extraordinarily high until eighty or even seventy years ago, as was death in childbirth, a woman might bid farewell to her child as soon as she saw its face, always assuming she had the will or the time to do so. Plagues were common and almost any illness could kill, illnesses we know nothing about now and whose names are unfamiliar; there were famines, endless wars, real wars that involved daily fighting, not sporadic engagements like now, and the generals didn't care about the losses, soldiers fell and that was that, they were only individuals to themselves, not even to their families, no family was spared the premature death of at least some of its members, that was the norm; those in power would look grim-faced, then carry out another levy, recruit more troops and send them to the front to continue dying in battle, and almost no one complained. People expected death, Jack, there wasn't so much panic about it, it was neither an insuperable calamity nor a terrible injustice; it was something that could happen and often did. We've become very soft, very thin-skinned, we think we should last forever. We ought to be accustomed to the temporary nature of things, but we're not. We insist on not being temporary, which is why it's so easy to frighten us, as you've seen, all one has to do is unsheathe a sword. And we're bound to be cowed when confronted by those who still see death, their own or other people's, as part and parcel of their job, as all in a day's work. When confronted by terrorists, for example, or by drug barons or multinational mafia men.

In my generation we did a lot of pleasure chasing—we, the generation responsible for today’s twenty-year-olds and thirty-year-olds and forty-year-olds. Before they came into our lives, we were on a pleasure binge, and the need for immediate gratification passed through us to our children. When I got out of the Army in 1944, the guys who were being discharged with me were mostly between the ages of eighteen and thirty. We came home to a country that was in great shape in terms of industrial capacity. As the victors, we decided to spread the good fortune around, and we did all kinds of wonderful things—but it wasn’t out of selfless idealism, let me assure you. Take the Marshall Plan, which we implemented at that time. It rebuilt Europe, yes, but it also enabled those war ruined countries to buy from us. The incredible, explosive economic prosperity that resulted just went wild. It was during that period that the pleasure principle started feeding on itself. One generation later it was the sixties, and those twenty-eight-year-old guys from World War II were forty-eight. They had kids twenty years old, kids who had been so indulged for two decades that it caused a huge, first-time-in-history distortion in the curve of values. And, boy, did that curve bend and bend and bend. These postwar parents thought they were in nirvana if they had a color TV and two cars and could buy a Winnebago and a house on the lake. But the children they had raised on that pleasure principle of material goods were by then bored to death. They had overdosed on all that stuff. So that was the generation who decided, “Hey, guess where the real action is? Forget the Winnebago. Give me sex, drugs, and rock ‘n’ roll.” Incredible mind-blowing experiences, head-banging, screw-your-brains-out experiences in service to immediate and transitory pleasures. But the one kind of gratification is simply an outgrowth of the other, a more extreme form of the same hedonism, the same need to indulge and consume. Some of those same sixties kids are now themselves forty-eight. Whatever genuine idealism they carried through those love-in days got swept up in the great yuppie gold rush of the eighties and the stock market nirvana of the nineties—and I’m afraid we are still miles away from the higher ground we seek.

After your email about the Late Bronze Age collapse, I became very intrigued by the idea that writing systems could be ‘lost’. In fact I wasn’t really sure what that even meant, so I had to look it up, and I ended up reading a lot about something called Linear B. Do you know all about this already? Basically, around the year 1900, a team of British excavators in Crete found a cache of ancient clay tablets in a terracotta bathtub. The tablets were inscribed with a syllabic script of unknown language and appeared to date from around 1400 BCE. Throughout the early part of the twentieth century, classical scholars and linguists tried to decipher the markings, known as Linear B, with no success. Although the script was organised like writing, no one could work out what language it transcribed. Most academics hypothesised it was a lost language of the Minoan culture on Crete, with no remaining descendants in the modern world. In 1936, at the age of eighty-five, the archaeologist Arthur Evans gave a lecture in London about the tablets, and in attendance at the lecture was a fourteen-year-old schoolboy named Michael Ventris. Before the Second World War broke out, a new cache of tablets was found and photographed – this time on the Greek mainland. Still, no attempts to translate the script or identify its language were successful. Michael Ventris had grown up in the meantime and trained as an architect, and during the war he was conscripted to serve in the RAF. He hadn’t received any formal qualifications in linguistics or classical languages, but he’d never forgotten Arthur Evans’s lecture that day about Linear B. After the war, Ventris returned to England and started to compare the photographs of the newly discovered tablets from the Greek mainland with the inscriptions on the old Cretan tablets. He noticed that certain symbols on the tablets from Crete were not replicated on any of the samples from Pylos. He guessed that those particular symbols might represent place names on the island. Working from there, he figured out how to decipher the script – revealing that Linear B was in fact an early written form of ancient Greek. Ventris’s work not only demonstrated that Greek was the language of the Mycenaean culture, but also provided evidence of written Greek which predated the earliest-known examples by hundreds of years. After the discovery, Ventris and the classical scholar and linguist John Chadwick wrote a book together on the translation of the script, entitled ‘Documents in Mycenaean Greek’. Weeks before the publication of the book in 1956, Ventris crashed his car into a parked truck and died. He was thirty-four