Cartoons Deep Quotes

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I was also sick of my neighbors, as most Parisians are. I now knew every second of the morning routine of the family upstairs. At 7:00 am alarm goes off, boom, Madame gets out of bed, puts on her deep-sea divers’ boots, and stomps across my ceiling to megaphone the kids awake. The kids drop bags of cannonballs onto the floor, then, apparently dragging several sledgehammers each, stampede into the kitchen. They grab their chunks of baguette and go and sit in front of the TV, which is always showing a cartoon about people who do nothing but scream at each other and explode. Every minute, one of the kids cartwheels (while bouncing cannonballs) back into the kitchen for seconds, then returns (bringing with it a family of excitable kangaroos) to the TV. Meanwhile the toilet is flushed, on average, fifty times per drop of urine expelled. Finally, there is a ten-minute period of intensive yelling, and at 8:15 on the dot they all howl and crash their way out of the apartment to school.” (p.137)
Stephen Clarke (A Year in the Merde)
We get too comfortable with this orphanage universe, though. We sit in our pews, or behind our pulpits, knowing that our children watch "Christian" cartoons instead of slash films. We vote for the right candidates and know all the right "worldview" talking points. And we're content with the world we know, just adjusted a little for our identity as Christians. That's precisely why so many of us are so atrophied in our prayers, why our prayers rarely reach the level of "groanings too deep for words" (Rom 8:26). We are too numbed to be as frustrated as the Spirit is with the way things are.
Russell D. Moore (Adopted for Life: The Priority of Adoption for Christian Families & Churches)
If you’re subjected to enough great salesmen and salespitches and marketing concepts for long enough—like from your earliest Saturday-morning cartoons, let’s say—it is only a matter of time before you start believing deep down that everything is sales and marketing, and that whenever somebody seems like they care about you or about some noble idea or cause, that person is really a salesman and really ultimately doesn’t give a shit about you or some cause but really just wants something for himself.
David Foster Wallace
When it´s bad I feel like I´ve been hit by an anvil, shattered like cartoon characters but without the instant recovery. That´s the deep pit where I feel all lost and alone. But when it´s good, it´s as if all my nerve endings are deliciously electrified; I´m on fire inside and swept off my feet by the passion and energy that washes over me. That´s the pinnacle where I am truly alive
Mary-Elaine Jacobsen (The Gifted Adult: A Revolutionary Guide for Liberating Everyday Genius)
Rabbi Heskel Shpilman is a deformed mountain, a giant ruined desert, a cartoon house with the windows shut and the sink left running. A little kid lumped him together, a mob of kids, blind orphans who never laid eyes on a man. They clumped the dough of his arms and legs to the dough of his body, then jammed his head down on top. A millionaire could cover a Rolls-Royce with the fine black silk-and-velvet expanse of the rebbe’s frock coat and trousers. It would require the brain strength of the eighteen greatest sages in history to reason through the arguments against and in favor of classifying the rebbe’s massive bottom as either a creature of the deep, a man-made structure, or an unavoidable act of God.
Michael Chabon (The Yiddish Policemen's Union)
She gazed over at her mother and took a deep breath. Perhaps her mother had never shown Abby affection, not really, but she had given her a knack for solitude, with its terrible lurches outward, and its smooth glide back to peace. Abby would toast her for that. It was really the world that was one’s brutal mother, the one that nursed and neglected you, and your own mother was only your sibling in that world. Abby lifted her glass. “May the worst always be behind you. May the sun daily warm your arms.…” She looked down at her cocktail napkin for assistance, but there was only a cartoon of a big-chested colleen, two shamrocks over her breasts. Abby looked back up. God’s word is quick! “May your car always start—” But perhaps God might also begin with tall, slow words; the belly bloat of a fib; the distended tale. “And may you always have a clean shirt,” she continued, her voice growing gallant, public and loud, “and a holding roof, healthy children and good cabbages—and may you be with me in my heart, Mother, as you are now, in this place; always and forever—like a flaming light.
Lorrie Moore (Birds of America: Stories)
About sexuality of English mice. A warm perfume is growing little by little in the room. An orchard scent, a caramelized sugar scent. Mrs. MOUSE roasts apples in the chimney. The apple fruits smell grass of England and the pastry oven. On a thread drawn in the flames, the apples, from the buried autumn, turn a golden color and grind in tempting bubbles. But I have the feeling that you already worry. Mrs. MOUSE in a Laura Ashley apron, pink and white stripes, with a big purple satin bow on her belt, Mrs. MOUSE is certainly not a free mouse? Certainly she cooks all day long lemon meringue tarts, puddings and cheese pies, in the kitchen of the burrow. She suffocates a bit in the sweet steams, looks with a sigh the patched socks trickling, hanging from the ceiling, between mint leaves and pomegranates. Surely Mrs. MOUSE just knows the inside, and all the evening flavours are just good for Mrs. MOUSE flabbiness. You are totally wrong - we can forgive you – we don’t know enough that the life in the burrow is totally communal. To pick the blackberries, the purplish red elderberries, the beechnuts and the sloes Mr. and Mrs. MOUSE escape in turn, and glean in the bushes the winter gatherings. After, with frozen paws, intoxicated with cold wind, they come back in the burrow, and it’s a good time when the little door, rond little oak wood door brings a yellow ray in the blue of the evening. Mr. and Mrs. MOUSE are from outside and from inside, in the most complete commonality of wealth and climate. While Mrs. MOUSE prepares the hot wine, Mr. MOUSE takes care of the children. On the top of the bunk bed Thimoty is reading a cartoon, Mr. MOUSE helps Benjamin to put a fleece-lined pyjama, one in a very sweet milky blue for snow dreams. That’s it … children are in bed …. Mrs. MOUSE blazes the hot wine near the chimney, it smells lemon, cinnamon, big dry flames, a blue tempest. Mr. and Mrs. MOUSE can wait and watch. They drink slowly, and then .... they will make love ….You didn’t know? It’s true, we need to guess it. Don’t expect me to tell you in details the mice love in patchwork duvets, the deep cherry wood bed. It’s just good enough not to speak about it. Because, to be able to speak about it, it would need all the perfumes, all the silent, all the talent and all the colors of the day. We already make love preparing the blackberries wine, the lemon meringue pie, we already make love going outside in the coldness to earn the wish of warmness and come back. We make love downstream of the day, as we take care of our patiences. It’s a love very warm, very present and yet invisible, mice’s love in the duvets. Imagine, dream a bit ….. Don’t speak too badly about English mice’s sexuality …..
Philippe Delerm
From the perspective of nearly half a century, the Battle of Hue and the entire Vietnam War seem a tragic and meaningless waste. So much heroism and slaughter for a cause that now seems dated and nearly irrelevant. The whole painful experience ought to have (but has not) taught Americans to cultivate deep regional knowledge in the practice of foreign policy, and to avoid being led by ideology instead of understanding. The United States should interact with other nations realistically, first, not on the basis of domestic political priorities. Very often the problems in distant lands have little or nothing to do with America’s ideological preoccupations. Beware of men with theories that explain everything. Trust those who approach the world with humility and cautious insight. The United States went to war in Vietnam in the name of freedom, to stop the supposed monolithic threat of Communism from spreading across the globe like a dark stain—I remember seeing these cartoons as a child. There were experts, people who knew better, who knew the languages and history of Southeast Asia, who had lived and worked there, who tried to tell Presidents Eisenhower, Kennedy, Johnson, and Nixon that the conflict in Vietnam was peculiar to that place. They were systematically ignored and pushed aside. David Halberstam’s classic The Best and the Brightest documents this process convincingly. America had every right to choose sides in the struggle between Hanoi and Saigon, even to try to influence the outcome, but lacking a legitimate or even marginally capable ally its military effort was misguided and doomed. At the very least, Vietnam should stand as a permanent caution against going to war for any but the most immediate, direct, and vital national interest, or to prevent genocide or wider conflict, and then only in concert with other countries. After
Mark Bowden (Hue 1968: A Turning Point of the American War in Vietnam)
Reflective nostalgics miss the past and dream about the past. Some of them study the past and even mourn the past, especially their own personal past. But they do not really want the past back. Perhaps this is because, deep down, they know that the old homestead is in ruins, or because it has been gentrified beyond recognition--or because they quietly recognize that they wouldn't much like it now anyway. Once upon a time life might have been sweeter or simpler, but it was also more dangerous, or more boring, or perhaps more unjust. Radically different from the reflective nostalgics are what Boym calls the restorative nostalgics, not all of whom recognize themselves as nostalgics at all. Restorative nostalgics don't just look at old photographs and piece together family stories. They are mythmakers and architects, builders of monuments and founders of nationalist political projects. They do not merely want to contemplate or learn from the past. They want, as Boym puts it, to "rebuild the lost home and patch up the memory gaps." Many of them don't recognize their own fictions about the past for what they are: "They believe their project is about truth." They are not interested in a nuanced past, in a world in which great leaders were flawed men, in which famous military victories had lethal side effects. They don't acknowledge that the past might have had its drawbacks. They want the cartoon version of history, and more importantly, they want to live in it, right now. They don't want to act out roles from the past because it amuses them: they want to behave as think their ancestors did, without irony. It is not by accident that restorative nostalgia often goes hand in hand with conspiracy theories and the medium-sized lies. These needn't be as harsh or crazy as the Smolensk conspiracy theory or the Soros conspiracy theory; they can gently invoke scapegoats rather than a full-fledged alternative reality. At a minimum, they can offer an explanation: The nation is no longer great because someone has attacked us, undermined us, sapped our strength. Someone—the immigrants, the foreigners, the elites, or indeed the EU—has perverted the course of history and reduced the nation to a shadow of its former self. The essential identity that we once had has been taken away and replaced with something cheap and artificial. Eventually, those who seek power on the back of restorative nostalgia will begin to cultivate these conspiracy theories, or alternative histories, or alternative fibs, whether or not they have any basis in fact.
Anne Applebaum (Twilight of Democracy: The Seductive Lure of Authoritarianism)
Dimitri walks slowly into the kitchen. I follow, a few paces behind. He pulls out a chair, sits down at my breakfast table, and closes his eyes. My avatar pops up on the kitchen wallscreen. She’s back to her cartoon robot self. “You’re not going to let me go,” she says, “are you?” “No,” Dimitri says. “I am not.” “If I can’t go, you can’t either,” says the avatar. He stands, lifts his chair, and smashes my back window. He uses the chair back to poke the remaining glass out of the frame, then leans out and looks down. “It’s a long way down,” my avatar says. “I am aware,” says Dimitri. It’s actually about thirty feet to the ground from here. There’s a flat-roofed building across the alley, maybe ten feet below the level of my window and fifteen or twenty feet away. Dimitri glances back at me, then across the alley. He heaves a deep sigh, and sits down again. “Excuse me,” I say, “but would someone please explain to me what, exactly, is going on?” “You called in a crowbar,” says my avatar. Dimitri leans back, and knits his hands behind his head. “I did.
Edward Ashton (Three Days in April)
Other fandoms—from Batman fans to James Bond fans to Doctor Who fans to Scooby-Doo fans—are all debating the same set of characters and circumstances. For example, in 2019, Scooby-Doo fans—including noted critic Nathan Rabin—were outraged that Matthew Lillard was not returning to play the voice of Shaggy for a new reboot of Scooby-Doo called Scoob! If you were to talk about this in terms of Star Trek post-TOS, it would require you to imagine a variety of Scooby-Doo sequels which took place in the same shared universe, featured zero talking dogs, no Velma, Fred, Daphne, or Shaggy, and only occasionally featured anyone driving a van called “The Mystery Machine,” which, in some versions, may not even be a van. The hypothetical Deep Space Nine of an expanded Scooby-Doo universe is a cartoon about kids living in a different city, who don’t have a van, who don’t solve mysteries, but were visited by Scrappy-Doo in the pilot episode. Now, imagine this hypothetical Scooby-Doo spin-off having its own fandom inside of “regular” Scooby-Doo fandom. That’s right. You can’t.
Ryan Britt (Phasers on Stun!: How the Making (and Remaking) of Star Trek Changed the World)
Commenting on the future of poetry and art in a democratic society, Alexis de Tocqueville wrote that he was not worried about a lapse into safe realism so much as a flight into unanchored fantasy. "I fear that the productions of democratic poets may often be surcharged with immense and incoherent imagery, with exaggerated descriptions and strange creations; and that the fantastic beings of their brain may sometimes make us regret the world of reality."We are surrounded now by the realization of Tocqueville's predictions: gleaming, bulbous golden arches;impossibly smooth backlit billboards; squishy cartoon characters roaming fantastically fake theme parks.When I was growing up, these strange creations awakened something in me that I've since come to think of as deep longing for the seductions of fake; I wanted to disappear into shiny, perfect, unreal objects.
Naomi Klein (No Logo)
Admit it-the world is mighty wacky. Dan Quayle is a heartbeat away from bravely leading us into the New World Order. Our intelligentsia are running around declaring that we have reached both the End of History and the apex of political evolution-we're the kings of the global jungle. At the same time, sensing new opportunities, the forces of reptilian nationalism-from Pat Robertson to militant mullahs, from David Duke to the ancient reactionary movements of Eastern Europe-are crawling out from under their rocks, getting facelifts, and learning how to use teleprompters and Stinger missiles. Meanwhile, back in the cradle of democracy, the "opposition" response to all this is to offer a choice between Jerry Brown and None of the Above.
Matt Wuerker (Standing Tall in Deep Doo-Doo/a Cartoon Chronicle of Campaign '92 and Bush/Quayle Years)
Our favorite example of meaning comes from a “Peanuts” cartoon strip. Lucy asks Schroeder—Schroeder playing the piano, of course, and ignoring Lucy—if he knows what love is. Schroeder stands at attention and intones, “Love: a noun, referring to a deep, intense, ineffable feeling toward another person or persons.” He then sits down and returns to his piano. The last caption shows Lucy looking off in the distance, balefully saying, “On paper, he’s great.” Most mission statements suffer that same fate: On paper, they’re great.
Warren Bennis (Leaders: The Strategies for Taking Charge (Collins Business Essentials))
When Putin or any wealthy corrupted dictator can decide who is the US President, while Obama or the regular democratic authorities don't have the same power to decide who is the Russian or Chinese president, then the problem is not about Donald Trump, not about The Person,rather it is structural gap related to the Democracy and Dictatorship in deep substance and concept, and should be discussed, reflected, thought, spoke and solved from this very respect, not from drawing daily cartoons for Trump's hairstyle!
Waseem Kanjo