Craftsmanship Quotes

The Christian shoemaker does his duty not by putting little crosses on the shoes, but by making good shoes, because God is interested in good craftsmanship.

A poet should be so crafty with words that he is envied even for his pains.

Skill without imagination is craftsmanship and gives us many useful objects such as wickerwork picnic baskets. Imagination without skill gives us modern art.

Truth can only be found in one place: the code.

He who approaches the temple of the Muses without inspiration, in the belief that craftsmanship alone suffices, will remain a bungler and his presumptuous poetry will be obscured by the songs of the maniacs.

Craftsmanship isn't like water in an earthen pot, to be taken out by the dipperful until it's empty. No, the more drawn out the more remains.

Indeed, the ratio of time spent reading versus writing is well over 10 to 1. We are constantly reading old code as part of the effort to write new code. ...[Therefore,] making it easy to read makes it easier to write.

It is not enough for code to work.

Without craftsmanship, inspiration is a mere reed shaken in the wind.

So if you want to go fast, if you want to get done quickly, if you want your code to be easy to write, make it easy to read.

Craftsmanship names an enduring, basic human impulse, the desire to do a job well for its own sake.

We don't value craftsmanship anymore! All we value is ruthless efficiency, and I say we deny our own humanity that way! Without appreciation for grace and beauty, there's no pleasure in creating things and no pleasure in having them! Our lives are made drearier, rather than richer! How can a person take pride in his work when skill and care are considered luxuries! We're not machines! We have a human need for craftsmanship!

At one time I thought the most important thing was talent. I think now that — the young man or the young woman must possess or teach himself, train himself, in infinite patience, which is to try and to try and to try until it comes right. He must train himself in ruthless intolerance. That is, to throw away anything that is false no matter how much he might love that page or that paragraph. The most important thing is insight, that is ... curiosity to wonder, to mull, and to muse why it is that man does what he does. And if you have that, then I don't think the talent makes much difference, whether you've got that or not. [Press conference, University of Virginia, May 20, 1957]

Be a worthy worker and work will come.

You should name a variable using the same care with which you name a first-born child.

A long descriptive name is better than a short enigmatic name. A long descriptive name is better than a long descriptive comment.

Clean code is not written by following a set of rules. You don’t become a software craftsman by learning a list of heuristics. Professionalism and craftsmanship come from values that drive disciplines.

You have to want to make a film for other reasons - to say something, to tell a story, to show somebody's fate - but you can't want to make a film simply for the sake of it.

She has always had a secret liking for this part of the embroidery, the ‘wrong’ side, congested with knots, striations of silk and twists of thread. How much more interesting it is, with its frank display of the labour needed to attain the perfection of the finished piece.

Clean code always looks like it was written by someone who cares.

Craftsmanship means dwelling on a task for a long time and going deeply into it, because you want to get it right.

Of course bad code can be cleaned up. But it’s very expensive.

God has allowed some magical reversal to occur, so that you see the scorpion pit as an object of desire, and all the beautiful expanse around it as dangerous and swarming with snakes.

He saw the white paper as the great universe of nonexistence. A single stroke would give rise to existence within it. He could evoke rain or wind at will, but whatever he drew, his heart would remain in the painting forever. If his heart was tainted, the picture would be tainted; if his heart was listless, so would the picture be. If he attempted to make a show of his craftsmanship, it could not be concealed. Men’s bodies fade away, but ink lives on. The image of his heart would continue to breathe after he himself was gone.

If you understand your painting beforehand, you might as well not paint it.

There is nothing higher-class than real craftsmanship, diversity, originality and the service of skilled human hands.

As Jack began to climb the stairs, Fiona looked up at her new home. Five stories of stately mansion rose above her head. Heavy molding around the large windows and doors bespoke a quality and craftsmanship that was obvious even in the dim night. “Good God! It’s massive!” Jack paused with his foot on the last step. “I do wish you’d keep those comments until we are in bed, love. I would appreciate them all the more there.

The element of craftsmanship in poetry is obscured by the fact that all men are taught to speak and most to read and write, while very few men are taught to draw or paint or write music.

I am not the potter, nor the potter's wheel, but the potter's clay, does it depend on the value achieved intrinsic as much as the value of the clay as the wheel and master craftsmanship?

There are two parts to learning craftsmanship: knowledge and work. You must gain the knowledge of principles, patterns, practices, and heuristics that a craftsman knows, and you must also grind that knowledge into your fingers, eyes, and gut by working hard and practicing.

It is not the language that makes programs appear simple. It is the programmer that make the language appear simple!

In time, all great masterpieces turn into shameless creatures who laugh at their creators.

Redundant comments are just places to collect lies and misinformation.

One hundred years from now, our engineering may seem as archaic as the techniques used by medieval cathedral builders seem to today's civil engineers, while our craftsmanship will still be honored.

[I]n adult literary fiction, stories are there on sufferance. Other things are felt to be more important: technique, style, literary knowingness. Adult readers who do deal in straightforward stories find themselves sidelined into a genre such as crime or science fiction, where no one expects literary craftsmanship. But stories are vital. Stories never fail us, because, as Isaac Bashevis Singer says, "events never grow stale." There's more wisdom in a story than in volumes of philosophy. [Contemporary writers, however,] take up their stories as with a pair of tongs. They're embarrassed by them. If they could write novels without stories in them, they would. Sometimes they do.

The Tezuman Empire in the jungle valleys of central Klatch is known for it organic market gardens, its exquisite craftsmanship in obsidian, feathers and jade, and its mass human sacrifices in honor of Quezovercoatl, the Feathered Boa, god of mass human sacrifices.

I'm against the picture of the artist as a starry-eyed visionary not really in control or knowing what he does. I'd almost prefer the word 'craftsman'. He's like one of those old-fashioned ship builders who conceived the build of the boat in their mind and after that touched every single piece that went into the boat.

You are reading this book for two reasons. First, you are a programmer. Second, you want to be a better programmer. Good. We need better programmers.

I hate crap, I like craftsmanship

Craftsmanship entails learning to do one thing really well, while the ideal of the new economy is to be able to learn new things, celebrating potential rather than achievement.

Practicing your craft in expert fashion is noble, honorable, and satisfying. And I'll generally take a stand-up mercenary who takes pride in his professionalism over an artist any day.

She wasn’t a bird in a cage. A bird in a cage, when the cage is opened, can still fly away. She was a bird embroidered onto a screen — a white bird in clouds of gold stitched onto a screen of melancholy satin. The years passed; the bird’s feathers darkened, mildewed, and were eaten by moths, but the bird stayed on the screen even in death.

Don’t Use a Comment When You Can Use a Function or a Variable

I must write down that I am to be an artist. Not in the sense of aesthetic frippery but in the sense of aesthetic craftsmanship; otherwise I will feel my loneliness continually—like this today. The word craftsmanship takes care of the work angle & the word aesthetic the truth angle.

Monster? And then she looked down and realized that her assailant had been talking about the skeleton of the dog. Oh. Right. I suppose … yes. She scowled. He was a good dog. He had excellent bones and even if she had used too much wire and gotten it a bit muddled around the toes and one of the bones of the tail, she’d think that a decent person would stop and admire the craftsmanship before they screamed and ran away.

You can build a relationship for so many years. You can grow it and nurture it, give it foundations and walls, and tinker with how you want it decorated. Then in just one moment, you can blow at it gently by telling the truth and the relationship collapses like a teetering house of cards. Years of careful craftsmanship. One conversation to undo it all.

It’s been a tough century for modesty, craftsmanship and tenderness.

One difference between a smart programmer and a professional programmer is that the professional understands that clarity is king. Professionals use their powers for good and write code that others can understand.

The pen may indeed be mightier than the sword, but the wordsmith would do well to welcome the blacksmith back into the fold, so that artisan craftsmanship the world over may fend off the ravages of industrialised homogeneity and bland monoculture.

There are two kinds of sufferers in this world: those who suffer from a lack of life and those who suffer from an overabundance of life. I’ve always found myself in the second category. When you come to think of it, almost all human behavior and activity is not essentially any different from animal behavior. The most advanced technologies and craftsmanship bring us, at best, up to the super-chimpanzee level. Actually, the gap between, say, Plato or Nietzsche and the average human is greater than the gap between that chimpanzee and the average human. The realm of the real spirit, the true artist, the saint, the philosopher, is rarely achieved. Why so few? Why is world history and evolution not stories of progress but rather this endless and futile addition of zeroes. No greater values have developed. Hell, the Greeks 3,000 years ago were just as advanced as we are. So what are these barriers that keep people from reaching anywhere near their real potential? The answer to that can be found in another question, and that’s this: Which is the most universal human characteristic – fear or laziness?

Programmers must avoid leaving false clues that obscure the meaning of code.

The proper use of comments is to compensate for our failure to express ourself in code. Note that I used the word failure. I meant it. Comments are always failures.

The trouble with the world was that nobody stopped or took any care.

Honesty in small things is not a small thing.

Writing clean code is what you must do in order to call yourself a professional. There is no reasonable excuse for doing anything less than your best.

The first rule of functions is that they should be small. The second rule of functions is that they should be smaller than that.

masterpieces of beauty, craftsmanship, and stability, all erected

In the absence of genius there is always craftsmanship.

There is in Albert Camus’ literary craftsmanship a seductive intelligence that could almost make a reader dismiss his philosophical intentions if he had not insisted on making them so clear.

In our current culture, we place a lot of emphasis on job description. Our obsession with the advice to “follow your passion” (the subject of my last book), for example, is motivated by the (flawed) idea that what matters most for your career satisfaction is the specifics of the job you choose. In this way of thinking, there are some rarified jobs that can be a source of satisfaction—perhaps working in a nonprofit or starting a software company—while all others are soulless and bland. The philosophy of Dreyfus and Kelly frees us from such traps. The craftsmen they cite don’t have rarified jobs. Throughout most of human history, to be a blacksmith or a wheelwright wasn’t glamorous. But this doesn’t matter, as the specifics of the work are irrelevant. The meaning uncovered by such efforts is due to the skill and appreciation inherent in craftsmanship—not the outcomes of their work.

[N]othing about a book is so unmistakable and so irreplaceable as the stamp of the cultured mind. I don't care what the story is about or what may be the momentary craze for books that appear to have been hammered out by the village blacksmith in a state of intoxication; the minute you get the easy touch of the real craftsman with centuries of civilisation behind him, you get literature.

Telling a lie is an act with a sharp focus. It is designed to insert a particular falsehood at a particular point in a set or system of beliefs, in order to have that point occupied by the truth. This requires a degree of craftsmanship, in which the teller of the lie submits to objective constraints imposed by what he takes to be the truth. The liar is inescapably concerned with truth-values. In order to invent a lie at all, he must think he knows what is true. And in order to invent an effective lie, he must design his falsehood under the guidance of that truth. On the other hand, a person who takes to bullshit his way through has much more freedom. His focus is panoramic rather than particular. He does not limit himself to inserting a certain falsehood at a specific point, and thus he is not constrained by the truths surrounding that point or intersecting it. He is prepared, so far as is required, to fake the context as well. This freedom from the constraints to which the liar must submit does not necessarily mean, of course, that his task is easier than the task of the liar. But the mode of creativity upon which it relies is less analytical and less deliberative than that which is mobilized in lying. It is more expansive and independent, with more spacious opportunities for improvisation, color and imaginative play. This is less a matter of craft than of art. Hence the familiar notion of the 'bullshit artist'.

When you see commented-out code, delete it!

I know from grim experience that there is a beauty to her inner layers, too. Marvels of symmetry and craftsmanship sealed away inside her like the jewelled movements of a timepiece, fine works of art never meant to be seen.

In a world where news of inhumanity bombards our sensibilities, where grasping for things goes so far beyond our needs, where time is squandered in busyness, it is a pleasure and a privilege to pause for a look at handiwork, to see beauty amidst utility, and to know that craft traditions begun so long ago serve us today.

It is good to recall that three centuries ago, around the year 1660, two of the greatest monuments of modern history were erected, one in the West and one in the East; St. Paul's Cathedral in London and the Taj Mahal in Agra. Between them, the two symbolize, perhaps better than words can describe, the comparative level of architectural technology, the comparative level of craftsmanship and the comparative level of affluence and sophistication the two cultures had attained at that epoch of history. But about the same time there was also created—and this time only in the West—a third monument, a monument still greater in its eventual import for humanity. This was Newton's Principia, published in 1687. Newton's work had no counterpart in the India of the Mughals.

If you want to be taken seriously, be consistent in your craft even when all odds are against you.

The true painter must be able, before an infinite panorama, to limit himself to reproducing a single ant.

We are the craft of our towns.

FUNCTIONS SHOULD DO ONE THING. THEY SHOULD DO IT WELL. THEY SHOULD DO IT ONLY.

An artist who works with his hands, his head and his heart at the same time creates a masterpiece.

Duplication is the primary enemy of a well-designed system. It represents additional work, additional risk, and additional unnecessary complexity.

Whatever else a TODO might be, it is not an excuse to leave bad code in the system.

Perhaps you thought that “getting it working” was the first order of business for a professional developer. I hope by now, however, that this book has disabused you of that idea. The functionality that you create today has a good chance of changing in the next release, but the readability of your code will have a profound effect on all the changes that will ever be made.

There are several ways to perform almost any act - an efficient, workable, artistic way and a careless, indifferent, sloppy way. Care and artistry are worth the trouble. They can be a satisfaction to the practitioner and a joy to all beholders.

She looked over the bins of tinselly junk and felt despair, trying to find one single thing that wouldn't fall apart before you got it home. Maybe her father was lucky to die young with his pride of craftsmanship intact. What would he make of this world? Realistically, it probably wasn't slave children, but there had to be armies of factory workers making this slapdash stuff, underpaid people cranking out things for underpaid people to buy and use up, living their lives mostly to cancel each other out.

I am here through an error—not in this prison, specifically—but in this whole terrible, striped world; a world which seems not a bad example of amateur craftsmanship, but is in reality calamity, horror, madness, error—and look, the curio slays the tourist, the gigantic carved bear brings its wooden mallet down upon me.

And where are the windows? Where does the light come in? Bernie, old friend, forgive me, but I haven't got the answer to that one. I'm not even sure if there are any windows in this particular house. Maybe the light is just going to have to come in as best it can, through whatever chunks and cracks have been left in the builder's faulty craftsmanship, and if that's the case you can be sure that nobody feels worse about it than I do. God knows, Bernie; God knows there certainly ought to be a window around here somewhere, for all of us.

A long descriptive name is better than a long descriptive comment.

I ran across an excerpt today (in English translation) of some dialogue/narration from the modern popular writer, Paulo Coelho in his book: Aleph.(Note: bracketed text is mine.)... 'I spoke to three scholars,' [the character says 'at last.'] ...two of them said that, after death, the [sic (misprint, fault of the publisher)] just go to Paradise. The third one, though, told me to consult some verses from the Koran. [end quote]' ...I can see that he's excited. [narrator]' ...Now I have many positive things to say about Coelho: He is respectable, inspiring as a man, a truth-seeker, and an appealing writer; but one should hesitate to call him a 'literary' writer based on this quote. A 'literary' author knows that a character's excitement should be 'shown' in his or her dialogue and not in the narrator's commentary on it. Advice for Coelho: Remove the 'I can see that he's excited' sentence and show his excitement in the phrasing of his quote.(Now, in defense of Coelho, I am firmly of the opinion, having myself written plenty of prose that is flawed, that a novelist should be forgiven for slipping here and there.)Lastly, it appears that a belief in reincarnation is of great interest to Mr. Coelho ... Just think! He is a man who has achieved, (as Leonard Cohen would call it), 'a remote human possibility.' He has won lots of fame and tons of money. And yet, how his preoccupation with reincarnation—none other than an interest in being born again as somebody else—suggests that he is not happy!

I am coming through the barriers you have erected in this mind. I am coming, though the way be ardous and strange. Nothing will stop me. As I travel, I admire the craftsmanship in the construction of this maze, admire the traps and pitfalls they have wrought. You have learned well, my servants. To force the child to construct these barriers insides its mind, in its effort to escape the physical world; to build an island of dream alone and untouched by the true Dreaming... This takes skill. My admiration does not lessen my anger. I am dream. I am coming.

I am a dash man and not a miler, and it is probable that I will never write a novel. So far the novels of this war have had too much of the strength, maturity and craftsmanship critics are looking for, and too little of the glorious imperfections which teeter and fall off the best minds. The men who have been in this war deserve some sort of trembling melody rendered without embarrassment or regret. I’ll watch for that book.

First Law You may not write production code until you have written a failing unit test. Second Law You may not write more of a unit test than is sufficient to fail, and not compiling is failing. Third Law You may not write more production code than is sufficient to pass the currently failing test.

The pursuit of beauty. The word is hard to articulate. As soon as you open your moth, it flies off, like a bird of paradise. Beauty can not be caught, but we are obliged to reach for it. Beauty is not neutral; pursuing it is a political act. Building is a grand act, a gesture toward peace, the opposite of destruction.

Did you ever ask yourself if each one of us pursued a high educational degree, who would do the skilled manual work? Craftsmanship may not earn us the money we want but that does not mean we should scorn on anyone doing it. We are obliged to be respectful and grateful to anyone using their hands to clean our households, trim our hedges,carpentry our furniture, farm our food, crafts the objects we collect and gift, style our hairs, etc. Next time you encounter a crafts person acknowledge their manual competence.

Clean code is simple and direct. Clean code reads like well-written prose. Clean code never obscures the designer’s intent but rather is full of crisp abstractions and straightforward lines of control. - Grady Booch author of Object Oriented Analysis and Design with Applications

There are some themes, some subjects, too large for adult fiction; they can only be dealt with adequately in a children's book. The reason for that is that in adult literary fiction, stories are there on sufferance. Other things are felt to be more important: technique, style, literary knowingness. Adult writers who deal in straightforward stories find themselves sidelined into a genre such as crime or science fiction, where no one expects literary craftsmanship. But stories are vital. Stories never fail us because, as Isaac Bashevis Singer says, "events never grow stale." There's more wisdom in a story than in volumes of philosophy. And by a story I mean not only Little Red Riding Hood and Cinderella and Jack and the Beanstalk but also the great novels of the nineteenth century, Jane Eyre, Middlemarch, Bleak House and many others: novels where the story is at the center of the writer's attention, where the plot actually matters. The present-day would-be George Eliots take up their stories as if with a pair of tongs. They're embarrassed by them. If they could write novels without stories in them, they would. Sometimes they do. But what characterizes the best of children's authors is that they're not embarrassed to tell stories. They know how important stories are, and they know, too, that if you start telling a story you've got to carry on till you get to the end. And you can't provide two ends, either, and invite the reader to choose between them. Or as in a highly praised recent adult novel I'm about to stop reading, three different beginnings. In a book for children you can't put the plot on hold while you cut artistic capers for the amusement of your sophisticated readers, because, thank God, your readers are not sophisticated. They've got more important things in mind than your dazzling skill with wordplay. They want to know what happens next.

Cheap objects resist involvement. We tend to invest less in their purchase, care, and maintenance, and that's part of what makes them so attractive. Cheap clothing lines—sold at discounters such as Target and H & M—are like IKEA emblems of the "cheap chic" where styles fills in for whatever quality goes lacking. There is nothing sinister in this, no deliberate planned obsolescence. These objects are not designed to fall apart, nor are they crafted not to fall apart. In many cases we know this and accept it, and have entered into a sort of compact. Perhaps we don't even want the object to last forever. Such voluntary obsolescence makes craftsmanship beside the point. We have grown to expect and even relish the easy birth and early death of objects.

The instruction here is not for every kind of writer - not for the writer of nurse books or thrillers or porno or the cheaper sort of sci-fi - though it is true that what holds for the most serious kind of fiction will generally hold for junk fiction as well. (Not everyone is capable of writing junk fiction: It requires an authentic junk mind. Most creative-writing teachers have had the experience of occasionally helping to produce, by accident, a pornographer. The most elegant techniques in the world, filtered through a junk mind, become elegant junk techniques.)

To me, and I passed this on to my students, the restored devices demonstrated not only how quickly anything on Earth runs down without steady infusions of energy. They reminded us, too, of the craftsmanship no longer practiced in the town below. Nobody down there in our time could make things that cunning and beautiful. Yes, and we took the 10 machines we agreed were the most beguiling, and we put them on permanent exhibit in the foyer of this library underneath a sign whose words can surely be applied to this whole ruined planet nowadays. THE COMPLICATED FUTILITY OF IGNORANCE

Subtle and coy, the cemento at Maalouf's did not speak of war, or frontiers, and the spaces they narrowed, but, rather, grandeur. The tiles returned one to a realm where imagination, artistry, and craftsmanship were not only appreciated but given free reign, where what was unique and striking, or small and perfect, or wrought with care was desired, where gazed-upon objects were the products of peaceful hearts, hands long practiced and trained. War ends the values and traditions that produce such treasures. Nothing is maintained. Cultures that may seem as durable as stone can break like glass, leaving all the things that held them together unattended. I believe that the craftsman, the artist, the cook, and the silversmith are peacemakers. They instill grace; they lull the world to calm.

I've said you can actually see this fusion in skilled mechanics and machinists of a certain sort, and you can see it in the work they do. To say that they are not artists is to misunderstand the nature of art. They have patience, care and attentiveness to what they're doing, but more than this—there's a kind of inner peace of mind that isn't contrived but results from a kind of harmony with the work in which there's no leader and no follower. The material and the craftsman's thoughts change together in a progression of smooth, even changes until his mind is at rest at the exact instant the material is right.

Dynasty and government serve as the world's market place, attracting to it the products of scholarship and craftsmanship alike. Wayward wisdom and forgotten lore turn up there. In this market stories are told and items of historical information are delivered. Whatever is in demand on this market is in general demand everywhere else. Now, whenever the established dynasty avoids injustice, prejudice, weakness, and double-dealing, with determination keeping to the right path and never swerving from it, the wares on its market are as pure silver and fine gold. However, when it is influenced by selfish interests and rivalries, or swayed by vendors of tyranny and dishonesty, the wares of its market place become as dross and debased metals. The intelligent critic must judge for himself as he looks around, examining this, admiring that, and choosing this.

When the maker's (or fixer's) activity is immediately situated within a community of use, it can be enlivened by this kind of direct perception. Then the social character of his work isn't separate from its internal or "engineering" standards; the work is improved through relationships with others. It may even be the case that what those standards are, what perfection consists of, is something that comes to light only through these iterated exchanges with others who use the product, as well as other craftsmen in the same trade. Through work that had this social character, some shared conception of the good is lit up, and becomes concrete.

The reality is that old houses that were built a hundred years ago were built by actual craftsmen, people who were the best in the world at what they did. The little nuances in the woodwork, the framing of the doors, the built-in nooks, the windows—all had been done by smart, talented people, and I quickly found that uncovering those details and all of that character made the house more inviting and more attractive and more alive.

Now as always—humility and terror. Fear that the working of my pen cannot capture the grinding of my brain. It is so easy to understand why the ancients prayed for the help of a Muse. And the Muse came and stood beside them, and we, heaven help us, do not believe in Muses. We have nothing to fall back on but our craftsmanship and it, as modern literature attests, is inadequate. May I be honest; may I be decent; may I be unaffected by the technique of hucksters. If invocation is required, let this be my invocation—may I be strong and yet gentle, tender and yet wise, wise and yet tolerant. May I for a little while, only for a little while, see with the inflamed eyes of a God.

I like my code to be elegant and efficient. The logic should be straightforward to make it hard for bugs to hide, the dependencies minimal to ease maintenance, error handling complete according to an articulated strategy, and performance close to optimal so as not to tempt people to make the code messy with unprincipled optimizations. Clean code does one thing well. -Bjarne Stroustrup, inventor of C++ and author of The C++ Programming Language

The notion of carefully wrought bullshit involves, then, a certain inner strain. Thoughtful attention to detail requires discipline and objectivity. It entails accepting standards and limitations that forbid the indulgence of impulse or whim. It is this selflessness that, in connection with bullshit, strikes us as inapposite. But in fact it is not out of the question at all. The realms of advertising and of public relations, and the nowadays closely related realm of politics, are replete with instances of bullshit so unmitigated that they can serve among the most indisputable and classic paradigms of the concept. And in these realms there are exquisitely sophisticated craftsmen who - with the help of advanced and demanding techniques of market research, of public opinion polling, of psychological testing, and so forth - dedicate themselves tirelessly to getting every word and image they produce exactly right.

More pertinent, however, is that capitalism tends to stultify the worker’s creativity, his human urge for self-expression, freedom, mutually respectful interaction with others, recognition of his self-determined sense of self, recognition of himself as a self rather than an object, a means to an end. Karl Marx called it “alienation.” Capitalism alienates the worker—and the capitalist—from his “fundamental human need” for “self-fulfilling and creative work,” “the exercise of skill and craftsmanship,”8 in addition to his fundamental desire to determine himself (whence comes the desire to dismantle oppressive power-relations and replace them with democracy). Alternative visions of social organization thus arise, including Robert Owen’s communitarian socialism, Charles Fourier’s associationist communalism, Proudhon’s mutualism (a kind of anarchism), Marx’s communism, Bakunin’s collectivist anarchism, Kropotkin’s anarchist communism, Anton Pannekoek’s council communism, and more recently, Murray Bookchin’s libertarian municipalism, Michael Albert’s participatory economics, Takis Fotopoulos’s inclusive democracy, Paul Hirst’s associationalism, and so on. Each of these schools of thought differs from the others in more or less defined ways, but they all have in common the privileging of economic and social cooperation and egalitarianism.

It was astonishing how loudly one laughed at tales of gruesome things, of war’s brutality-I with the rest of them. I think at the bottom of it was a sense of the ironical contrast between the normal ways of civilian life and this hark-back to the caveman code. It made all our old philosophy of life monstrously ridiculous. It played the “hat trick” with the gentility of modern manners. Men who had been brought up to Christian virtues, who had prattled their little prayers at mothers’ knees, who had grown up to a love of poetry, painting, music, the gentle arts, over-sensitized to the subtleties of half-tones, delicate scales of emotion, fastidious in their choice of words, in their sense of beauty, found themselves compelled to live and act like ape-men; and it was abominably funny. They laughed at the most frightful episodes, which revealed this contrast between civilized ethics and the old beast law. The more revolting it was the more, sometimes, they shouted with laughter, especially in reminiscence, when the tale was told in the gilded salon of a French chateau, or at a mess-table. It was, I think, the laughter of mortals at the trick which had been played on them by an ironical fate. They had been taught to believe that the whole object of life was to reach out to beauty and love, and that mankind, in its progress to perfection, had killed the beast instinct, cruelty, blood-lust, the primitive, savage law of survival by tooth and claw and club and ax. All poetry, all art, all religion had preached this gospel and this promise. Now that ideal had broken like a china vase dashed to hard ground. The contrast between That and This was devastating. It was, in an enormous world-shaking way, like a highly dignified man in a silk hat, morning coat, creased trousers, spats, and patent boots suddenly slipping on a piece of orange-peel and sitting, all of a heap, with silk hat flying, in a filthy gutter. The war-time humor of the soul roared with mirth at the sight of all that dignity and elegance despoiled. So we laughed merrily, I remember, when a military chaplain (Eton, Christ Church, and Christian service) described how an English sergeant stood round the traverse of a German trench, in a night raid, and as the Germans came his way, thinking to escape, he cleft one skull after another with a steel-studded bludgeon a weapon which he had made with loving craftsmanship on the model of Blunderbore’s club in the pictures of a fairy-tale. So we laughed at the adventures of a young barrister (a brilliant fellow in the Oxford “Union”) whose pleasure it was to creep out o’ nights into No Man’s Land and lie doggo in a shell-hole close to the enemy’s barbed wire, until presently, after an hour’s waiting or two, a German soldier would crawl out to fetch in a corpse. The English barrister lay with his rifle ready. Where there had been one corpse there were two. Each night he made a notch on his rifle three notches one night to check the number of his victims. Then he came back to breakfast in his dugout with a hearty appetite.