Facsimile Quotes

It's very tempting when you really want to be with someone to settle for much, much less -- even a vague pathetic facsimile of less -- than you would have ever imagined. Remember always what you set out to get and please don't settle for less. These guys exist because there are a lot of women out there who allow them to.

Inside each of us resides the truth, I began, the absolute truth. But sometimes the truth is hidden in a hall of mirrors. Sometimes we believe we are viewing the real thing, when in fact we are viewing a facsimile, a distortion.

An ad that pretends to be art is -- at absolute best -- like somebody who smiles warmly at you only because he wants something from you. This is dishonest, but what's sinister is the cumulative effect that such dishonesty has on us: since it offers a perfect facsimile or simulacrum of goodwill without goodwill's real spirit, it messes with our heads and eventually starts upping our defenses even in cases of genuine smiles and real art and true goodwill. It makes us feel confused and lonely and impotent and angry and scared. It causes despair.

It’s very tempting when you really want to be with someone to settle for much, much less - even a vague pathetic facsimile of less - than you would have ever imagined. Remember always what you set out to get and please don’t settle for less.

This sentence is made of lead (and a sentence of lead gives a reader an entirely different sensation from one made of magnesium). This sentence is made of yak wool. This sentence is made of sunlight and plums. This sentence is made of ice. This sentence is made from the blood of the poet. This sentence was made in Japan. This sentence glows in the dark. This sentence was born with a caul. This sentence has a crush on Norman Mailer. This sentence is a wino and doesn't care who knows it. Like many italic sentences, this one has Mafia connections. This sentence is a double Cancer with a Pisces rising. This sentence lost its mind searching for the perfect paragraph. This sentence refuses to be diagrammed. This sentence ran off with an adverb clause. This sentence is 100 percent organic: it will not retain a facsimile of freshness like those sentences of Homer, Shakespeare, Goethe et al., which are loaded with preservatives. This sentence leaks. This sentence doesn't look Jewish... This sentence has accepted Jesus Christ as its personal savior. This sentence once spit in a book reviewer's eye. This sentence can do the funky chicken. This sentence has seen too much and forgotten too little. This sentence is called "Speedoo" but its real name is Mr. Earl. This sentence may be pregnant. This sentence suffered a split infinitive - and survived. If this sentence has been a snake you'd have bitten it. This sentence went to jail with Clifford Irving. This sentence went to Woodstock. And this little sentence went wee wee wee all the way home.

Fiery the Angels rose, & as they rose deep thunder roll’d Around their shores, indignant burning with the fires of Orc.

I breathe slowly and deeply. I make my eyes still under eyelids, I make my mind still, and soon, Sleep, seeing a perfect reproduction of himself, comes to be united with his facsimile.

Forgiveness. The ability to forgive oneself. Stop here for a few breaths and think about this because it is the key to making art, and very possibly the key to finding any semblance of happiness in life. Every time I have set out to translate the book (or story, or hopelessly long essay) that exists in such brilliant detail on the big screen of my limbic system onto a piece of paper (which, let’s face it, was once a towering tree crowned with leaves and a home to birds). I grieve for my own lack of talent and intelligence. Every. Single. Time. Were I smarter, more gifted, I could pin down a closer facsimile of the wonders I see. I believe, more than anything, that this grief of constantly having to face down our own inadequacies is what keeps people from being writers. Forgiveness, therefore, is key. I can’t write the book I want to write, but I can and will write the book I am capable of writing. Again and again throughout the course of my life I will forgive myself.

People always said they wanted the truth, but really they were perfectly content with a facsimile.

But the truth is it’s hard for me to know what I really think about any of the stuff I’ve written. It’s always tempting to sit back and make finger-steeples and invent impressive sounding theoretical justifications for what one does, but in my case most of it’d be horseshit. As time passes I get less and less nuts about anything I’ve published, and it gets harder to know for sure when its antagonistic elements are in there because they serve a useful purpose and when their just covert manifestations of this "look-at-me-please-love-me-I-hate you" syndrome I still sometimes catch myself falling into. Anyway, but what I think I meant by "antagonize" or "aggravate" has to do with the stuff in the TV essay about the younger writer trying to struggle against the cultural hegemony of TV. One thing TV does is help us deny that we’re lonely. With televised images, we can have the facsimile of a relationship without the work of a real relationship. It’s an anesthesia of "form." The interesting thing is why we’re so desperate for this anesthetic against loneliness. You don’t have to think very hard to realize that our dread of both relationships and loneliness, both of which are like sub-dreads of our dread of being trapped inside a self (a psychic self, not just a physical self), has to do with angst about death, the recognition that I’m going to die, and die very much alone, and the rest of the world is going to go merrily on without me. I’m not sure I could give you a steeple-fingered theoretical justification, but I strongly suspect a big part of real art fiction’s job is to aggravate this sense of entrapment and loneliness and death in people, to move people to countenance it, since any possible human redemption requires us first to face what’s dreadful, what we want to deny.

Prom was more about acting out some weird facsimile of adulthood: dress up like a tacky wedding party, hold hands and behave like a couple even if you've never dated, and observe the etiquette of Gilded Age debutantes thrust into modern celebrity: limos, red carpets and a constant stream of paparazzi, played by parents, teachers, and hired photo hacks.

pretending often leads to becoming a reasonable facsimile of what you mimic, even if only from a distance.

Inside each of us resides the truth,” I began, “the absolute truth. But sometimes the truth is hidden in a hall of mirrors. Sometimes we believe we are viewing the real thing, when in fact we are viewing a facsimile, a distortion. As I listen to this trial, I am reminded of the climactic scene of a James Bond film, The Man with the Golden Gun. James Bond escaped his hall of mirrors by breaking the glass, shattering the illusions, until only the true villain stood before him. We, too, must shatter the mirrors. We must look into ourselves and root out the distortions until that thing which we know in our hearts is perfect and true, stands before us. Only then will justice be served.

You interest me,' he said, and his tone suggested this fact itself surprised him, meant something more to him than perhaps it should: a man surprised by being interested was living a piss-poor facsimile of life, in her view.

If I had been replaced with a reasonable facsimile of the person I’d been, would anyone notice?

Zoos are becoming facsimiles - or perhaps caricatures - of how animals once were in their natural habitat. If the right policies toward nature were pursued, we would need no zoos at all.

The present is too often squandered grieving the past or fearing the future, which makes the present nothing more than a cheap facsimile of what was or what will be instead of what it could be.

Great literature was never intended to be either facsimile or echo of real life; it was meant to shut out real life for a while, to free the harried mind from mundane considerations, so that the mind could holiday amid glorious language and vivid word-pictures and inspiring or alluring ideas.

Prom was more about acting out some weird facsimile of adulthood: dress up like a tacky wedding party, hold hands and behave like a couple even if you’ve never dated, and observe the etiquette of Gilded Age debutantes thrust into modern celebrity: limos, red carpets, and a constant stream of paparazzi, played by parents, teachers, and hired photo hacks.

After such prolonged frowning, it took her some moments to recall what her normal face even looked like, but after several attempts she was able to settle on a reasonable facsimile.

Inside each of us resides the truth, the absolute truth. But sometimes the truth is hidden in a hall of mirrors. Sometimes we believe we are viewing the read thing, when in fact we are viewing a facsimile, a distortion...We too, must shatter the mirrors. We must look into ourselves and root out the distortions until that thing which we know in our hearts is perfect and true, stands before us. Only then will justice be served.

Loving someone is kind of like offering forgiveness. There's no guarantee that they're not going to hurt you again. You can't promise perfection. But you choose to love and you choose to forgive, because living in fear of being hurt again is just a facsimile of life.

We observe our target and strive to become a facsimile of whatever or whoever that person wants—a good employee or boss or lover. It’s not always the case that the facsimile is malicious or ill intentioned.

Perhaps you are a clockwork girl. Perhaps Mortmain’s warlock father built you, and now Mortmain seeks the secret of how to create such a perfect facsimile of life when all he can build are hideous monstrosities. Perhaps all that beats beneath your chest is a heart made of metal.’ Tessa drew in a breath, feeling momentarily dizzy. His soft voice was so convincing, and yet--’No,’ she said sharply. ‘You forget, I remember my childhood. Mechanical creatures do not change or grow. Nor would that explain my ability.’ ‘I know,’ said Will with a grin that flashed white in the darkness. ‘I only wanted to see if I could convince you.’ Tessa looked at him steadily. ‘I am not the one who has no heart.

It's not the moment the world splits in two, it's all the days after, trying to live a cleaved life and pretend you never knew it whole and don't feel the space of that missing piece that can never be repaired or replaced. Even the best facsimiles fall short.

Why wouldst thou rude on me they wring-world right foot rock?

Before Griffin had come along, I’d been living inside a photograph: just a facsimile of life, without either color or depth.

I can't swallow the thought of the Woodsmen killing the little part of her that's left in me, the facsimile of our shared blood.

But when these moments end and the buzz is gone and the reality sets in that I know I am lost and that this facsimile, however splendid or romantic, cannot erase the basic feeling that I am alone and it is because I am damaged and it will always be that way, the whole thing seems less like a romantic story and more like an intoxication from which I awake to see the consequences, like those kids on LSD in the 1960s who died thinking they could fly.

What is most lacking in the modern world of duplications and facsimiles, of endless information and intentional misinformation, is the authenticity that makes life truly meaningful and spiritually rewarding.

A Jedi sufficiently strong in the Force can be trained to produce a facsimile, but not true Sith lightning, which, unabated, has the power not only to incapacitate or kill, but to physically transform the victim. Force lightning requires strength of a sort only a Sith can command because we accept consequence and reject compassion. To do so requires a thirst for power that is not easily satisfied. The Force tries to resist the callings of ravenous spirits; therefore it must be broken and made a beast of burden. It must be made to answer to one’s will.

Helen of Troy Does Counter Dancing The world is full of women who'd tell me I should be ashamed of myself if they had the chance. Quit dancing. Get some self-respect and a day job. Right. And minimum wage, and varicose veins, just standing in one place for eight hours behind a glass counter bundled up to the neck, instead of naked as a meat sandwich. Selling gloves, or something. Instead of what I do sell. You have to have talent to peddle a thing so nebulous and without material form. Exploited, they'd say. Yes, any way you cut it, but I've a choice of how, and I'll take the money. I do give value. Like preachers, I sell vision, like perfume ads, desire or its facsimile. Like jokes or war, it's all in the timing. I sell men back their worst suspicions: that everything's for sale, and piecemeal. They gaze at me and see a chain-saw murder just before it happens, when thigh, ass, inkblot, crevice, tit, and nipple are still connected. Such hatred leaps in them, my beery worshipers! That, or a bleary hopeless love. Seeing the rows of heads and upturned eyes, imploring but ready to snap at my ankles, I understand floods and earthquakes, and the urge to step on ants. I keep the beat, and dance for them because they can't. The music smells like foxes, crisp as heated metal searing the nostrils or humid as August, hazy and languorous as a looted city the day after, when all the rape's been done already, and the killing, and the survivors wander around looking for garbage to eat, and there's only a bleak exhaustion. Speaking of which, it's the smiling tires me out the most. This, and the pretense that I can't hear them. And I can't, because I'm after all a foreigner to them. The speech here is all warty gutturals, obvious as a slam of ham, but I come from the province of the gods where meaning are lilting and oblique. I don't let on to everyone, but lean close, and I'll whisper: My mothers was raped by a holy swan. You believe that? You can take me out to dinner. That's what we tell all the husbands. There sure are a lot of dangerous birds around. Not that anyone here but you would understand. The rest of them would like to watch me and feel nothing. Reduce me to components as in a clock factory or abattoir. Crush out the mystery. Wall me up alive in my own body. They'd like to see through me, but nothing is more opaque than absolute transparency. Look - my feet don't hit the marble! Like breath or a balloon, I'm rising, I hover six inches in the air in my blazing swan-egg of light. You think I'm not a goddess? Try me. This is a torch song. Touch me and you'll burn.

Truth-telling is difficult because the varieties of untruth are so many and so well disguised. Lies are hard to identify when they come in the form of apparently innocuous imprecision, socially acceptable slippage, hyperbole masquerading as enthusiasm, or well-placed propaganda. These forms of falsehood are so common, and even so normal, in media-saturated, corporately controlled culture that truth often looks pale, understated, alarmist, rude, or indecisive by comparison. Flannery O’Connor’s much-quoted line ‘You shall know the truth, and the truth shall make you odd’ has a certain prophetic force in the face of more and more commonly accepted facsimiles of truth - from PR to advertising claims to propaganda masquerading as news.

Loaded my black patent leather bag with sherry, cream cheese (for grammy’s apricot tarts), thyme, basil, bay leaves (for Wendy’s exotic stews—a facsimile of which now simmers on the stove), golden wafers (such an elegant name for Ritz crackers), apples and green pears. I was getting worried about becoming too happily stodgily practical: instead of studying Locke, for instance, or writing—I go make an apple pie, or study the Joy of Cooking, reading it like a rare novel. Whoa, I said to myself. You will escape into domesticity & stifle yourself by falling headfirst into a bowl of cookie batter.

So, too, with the caste system as it goes about its work in silence, the string of a puppet master unseen by those whose subconscious it directs, its instructions an intravenous drip to the mind, caste in the guise of normalcy, injustice looking just, atrocities looking unavoidable to keep the machinery humming, the matrix of caste as a facsimile for life itself and whose purpose is maintaining the primacy of those hoarding and holding tight to power.

Watch out for art, Crake used to say. As soon as they start doing art, we’re in trouble. Symbolic thinking of any kind would signal downfall, in Crake’s view. Next they’d be inventing idols, and funerals, and grave goods, and the afterlife, and sin, and Linear B, and kings, and then slavery and war. Snowman longs to question them—who first had the idea of making a reasonable facsimile of him, of Snowman, out of a jar lid and a mop? But that will have to wait.

There is, of course, no way of knowing for certain. There is no way to know what they felt, those millions who were given no chance at survival. I can only speculate. And even I, a Jew—yes, I am a Jew, Dr. Swenson, and my entire family was murdered by the Nazis—even I can only imagine a pale facsimile of what it must have been like. But I do know that there is no justification. No possible rationalization for what the Nazis did, for what civilian Germans permitted and encouraged to happen.

Thomas didn't want to go into the church because he wasn't optimistic that the Almighty and his institutions would smile on him. Like me, he favored maintaining a low profile with regards to matters temporal. [...] I knew how he felt. I hadn't been in a church since I'd smacked my hand down on Lasciel's ancient silver coin. Hell, I had a freaking fallen angel in my head-or at least a facsimile of one. If that wasn't a squirt of lemon juice in God's eye, I didn't know what was. But I had a job to do.

Manners maketh man.

What God is he writes laws of peace & clothes him in a tempest?

Was it always this way? Did everyone from high school end up looking like weird facsimiles of other people's parents?

True love was beyond the bars, but a facsimile of it came with no suffering at all.

A fake is a copy, a duplicate, a facsimile of an original. The professional coach is authentic - the real deal.

[...] how can I describe what it's like, sharing space and time, even just a facsimile of a friendship with someone so far above of me, who doesn't make me feel like shit for it?

Like preachers, I sell vision, like perfume ads, desire or its facsimile. Like jokes or war, it’s all in the timing. I sell men back their worse suspicions: that everything’s for sale,

How much time, after this realization sank in and spread among consumers (mostly via phone, interestingly), would any micro-econometrist expect to need to pass before high-tech visual videophony was mostly abandoned, then, a return to good old telephoning not only dictated by common consumer sense but actually after a while culturally approved as a kind of chic integrity, not Ludditism but a kind of retrograde transcendence of sci-fi-ish high-tech for its own sake, a transcendence of the vanity and the slavery to high-tech fashion that people view as so unattractive in one another. In other words a return to aural-only telephony became, at the closed curve’s end, a kind of status-symbol of anti-vanity, such that only callers utterly lacking in self-awareness continued to use videophony and Tableaux, to say nothing of masks, and these tacky facsimile-using people became ironic cultural symbols of tacky vain slavery to corporate PR and high-tech novelty, became the Subsidized Era’s tacky equivalents of people with leisure suits, black velvet paintings, sweater-vests for their poodles, electric zirconium jewelry, NoCoat Lin-guaScrapers, and c.

Joshie has always told Post Human Services Staff to keep a diary, to remember who we were because every moment, our brains and synapses are being rebuilt and rewired with maddening disregard for our personalities, so that each year, each month, each day, we transfer into a different person, an utterly unfaithful iteration of our original selves, of the drooling kid in the sandbox. But not me. I am still a facsimile of my early childhood. I am still looking for a loving dad to lift me up and brush the sand off my ass and to hear English, calm and hurtless, fall off his lips.

They had their lives, and I had mine. I liked most of all pretending to be a biologist, and pretending often leads to becoming a reasonable facsimile of what you mimic, even if only from a distance

There are more worlds than one, and in many ways they are unlike each other. But joy and sorrow, or, in other words, good and evil,are not absent in their degree from any of the worlds, for wherever there is life there is action, and action is but the expression of one or other of these qualities.

What he was referring to is the fact that there are two worlds: the true glory of Sophia and the false world of the Demiurge. The false world of the Demiurge seems the same as the world of Sophia, except that it is, to use a metaphor, colorless. The world of the Demiurge is the world as it seems to people obsessed with material possessions, attracted by the desire to control the realm of the Goddess Sophia, people who prefer the artificial to the authentic, people in the clutches of delusional poisonous drugs, people with addictions to other people and alcohol, as well as food, spending, pornography, gambling, angry people who are fixated with politics and financial issues; people who are full of illusory worries about possible future events rather than living in the authentic present now, people who see the world through the eyes of the media and people who are completely isolated from themselves emotionally. These people never 'see' and never 'hear' the real world around and within them. They live in the false duplicate reality of the Earth manufactured by Yaldabaoth. This facsimile is an illusory world.

On its surface, the booming market in side bets on subprime mortgage bonds seemed to be the financial equivalent of fantasy football: a benign, if silly, facsimile of investing. Alas, there was a difference between fantasy football and fantasy finance: When a fantasy football player drafts Peyton Manning to be on his team, he doesn’t create a second Peyton Manning. When Mike Burry bought a credit default swap based on a Long Beach Savings subprime–backed bond, he enabled Goldman Sachs to create another bond identical to the original in every respect but one: There were no actual home loans or home buyers. Only the gains and losses from the side bet on the bonds were real.

I saw her in the moment for what she truly was: a refugee from a more ancient age who only kept up the barest facsimile of youth and modernity, and even then only a smokescreen to draw in prey. I was, all of a sudden, a little bit afraid of her.

My writing became the axis upon which all my identity and happiness hinged. It was now outward-looking, a self-conscious performance. I was asked to repeat the pleasure for people, again and again, until the facsimile of my act became the act itself. Cynth’s

Styles, like languages, differ in the sequence of articulation and in the number of questions they allow the artist to ask; and so complex is the information that reaches us from the visible world that no picture will ever embody it all. This is not due to the subjectivity of vision but to its richness. Where the artist has to copy a human product he can, of course, produce a facsimile which is indistinguishable from the original. The forger of banknotes succeeds only too well in effacing his personality and the limitations of a period style.

Avilion was where King Arthur went to die. Surely Adelia’s choice of name signifies how hopelessly in exile she considered herself to be: she might be able to call into being by sheer force of will some shoddy facsimile of a happy isle, but it would never be the real thing.

The tribe of clerks was an obvious one...the junior clerks of flash houses--young gentlemen with tight coats, bright boots, well-oiled hair, and supercilious lips. Setting aside a certain dapperness of carriage, which may be termed [i]deskism[/i] for want of a better word, the manner of these persons seemed to be an exact fac-simile of what had been the perfection of [i]bon ton[/i] about twelve or eighteen months before.

It turns out, then, that a shadow is a fitting representation of this reality. A shadow casts a two-dimensional silhouette of a three dimensional object. In essence, it is a darkened and flattened facsimile of a luminous, multifaceted world—a world that cannot be directly perceived by those condemned to see in shadows.

He knew he’d be poor company for Darlene if she did come over. He could be surly when he was tired. He would take this skirmish to avoid a full-blown argument. That was the nature of long-term relationships. Dozens upon dozens of tactical decisions and one-sided negotiations to keep the peace, or some facsimile thereof.

They ate earth and shat out poison, leaving behind a lifeless wasteland. The alien intelligence that had created them had mastered space travel and learned to send information through time. Now they were taking our world and turning it into a facsimile of their own, every last tree, flower, insect, animal, and human be damned.

Let us educate the younger generation to be shy in and out of season: to edge behind the furniture: to say spasmodic and ill-digested things: to twist their feet round the protective feet of sofas and armchairs: to feel that their hands belong to someone else--that they are objects, which they long to put down on some table away from themselves. For shyness is the protective fluid within which our personalities are able to develop into natural shapes. Without this fluid the character becomes merely standardized or imitative: it is within the tender velvet sheath of shyness that the full flower of idiosyncrasy is nurtured: it is from this sheath alone that it can eventually unfold itself, coloured and undamaged. Let the shy understand, therefore, that their disability is not only an inconvenience, but also a privilege. Let them regard their shyness as a gift rather than as an affliction. Let them consider how intolerable are those of their contemporaries who are not also shy.

Snowman longs to question them – who first had the idea of making a reasonable facsimile of him, of Snowman, out of a jar lid and a mop? But that will have to wait. “Look! Snowman has flowers on him!” (This from the children, who’ve noticed his new floral sarong.) “Can we have flowers on us too?” “Was it difficult, your journey into the sky?

We are told how Washington carried this little book in his pocket through the Indian wars and how his life was saved by it receiving bullets or arrows aimed at the great chieftain.”23 (It apparently never occurred to Rev. Robinson to wonder why there were no bullet or arrow holes in the book’s pages in Henkels’s facsimile reproduction.) Naturally,

For America, if eligible at all to downfall and ruin, is eligible within herself, not without;

And the few who cheat you are not generally the people who would buy. So you are not losing purchasers, but the samples only.

THE product itself should be its own best salesman. Not the product alone, but the product plus a mental impression, an atmosphere, which you place around it.

An actor, to spend his entire life as an actor, has to have the mind of a child. A writer at sixty can be a Steinbeck, a Faulkner, or a Hemingway. An actor at sixty can make a funny face or do a creaky dance. The actor lives a reasonable-facsimile existence while cavorting in an unreal world. The value of an actor’s services are determined by the needs of another person.

We do much more work than you. Even when we are drunk, We are still more sober than you. You drink people's blood, And we drink the grape's blood. Let's be fair, which one of us is more immoral?

facsimile science. (By this term I mean materials that carry the accoutrements of science—including in some cases peer review—but fail to adhere to accepted scientific standards such as methodological naturalism, complete and open reporting of data, and the willingness to revise assumptions in the light of data.)49 This is the problem of for-profit and predatory conferences and journals.

It is utterly impossible to conjure a black facsimile of Donald Trump—to imagine Obama, say, implicating an opponent’s father in the assassination of an American president or comparing his physical endowment with that of another candidate and successfully capturing the presidency. Trump, more than any other politician, understood the valence of the bloody heirloom and the great power in not being a nigger.

Thomas had a younger sister, Ester, who was a facsimile of the womanizer brother, who had behaviors that mirrored her brother’s treatment of women, for she treated men the same way, for the same reasons. The younger sister had raised her sons with a hurtful echo in their minds that said ‘men are no good’, and because they heard it so much from their mother’s mouth, I feared that they would one day believe it to be true.

Every time I have set out to translate the book (or story, or hopelessly long essay) that exists in such brilliant detail on the big screen of my limbic system onto a piece of paper (which, let’s face it, was once a towering tree crowned with leaves and a home to birds), I grieve for my own lack of talent and intelligence. Every. Single. Time. Were I smarter, more gifted, I could pin down a closer facsimile of the wonders I see.

Watch out for art, Crake used to say. As soon as they start doing art, we’re in trouble. Symbolic thinking of any kind would signal downfall, in Crake’s view. Next they’d be inventing idols, and funerals, and grave goods, and the afterlife, and sin, and Linear B, and kings, and then slavery and war. Snowman longs to question them – who first had the idea of making a reasonable facsimile of him, of Snowman, out of a jar lid and a mop? But that will have to wait.

All Religions have this in common, that they are an outrage to common sense for they are pieced together out of a variety of elements, some of which seem so unworthy, sordid and at odds with man’s reason, that any strong and vigorous intelligence laughs at them... The human intellect is only capable of tackling mediocre subjects: it disdains petty subjects, and is startled by large ones. There is no reason to be surprised if it finds any religion hard to accept at first, for all are deficient in the mediocre and the commonplace, nor that it should require skill to induce belief. For the strong intellect laughs at religion, while the weak and superstitious mind marvels at it but is easily scandalized by it.

(Hitler had a constitutional duty to consider each appeal for clemency and sign the execution warrant.) In bygone times the condemned criminal had had the traditional right to see the Kaiser's signature on the warrant before being led to the scaffold. In Hitler's era, the usages were less picturesque. A telephone call went from Schaub to Lammers in Berlin: ‘The Führer has turned down the appeal for clemency’ – this sufficed to rubber-stamp a facsimile of the Führer's signature on the execution warrant. On one occasion the file laid before Hitler stated simply that the Berlin Chancellery would ‘take the necessary steps’ if they had heard no decision from him by ten P.M. that night. Human life was becoming cheaper in the new Germany. When it was at its cheapest, at the time of Stalingrad, Walther Hewel was to explain to an OKW staff officer, ‘If you want to understand the way the Führer's mind works, you must look upon the human race as being just a swarm of ants.’ However,

All I hope is that I may not lose all interest in human affairs--that the solitary indifference I feel for applause even from the finest Spirits, will not blunt any acuteness of vision I may have. I do not think it will--I feel assured I should write from the mere yearning and fondness I have for the Beautiful even if my night's labours should be burnt every morning and no eye ever shine upon them. But even now I am perhaps not speaking from myself; but from some character in whose soul I now live.

To be thrown among people who care not for you, with whom you have no sympathies[-] [it] forces the Mind upon its own resources, and leaves it free to make its speculations [on] the differences of human character and to class them with the calmness of a Botanist...

Eliot's understanding of poetic epistemology is a version of Bradley's theory, outlined in our second chapter, that knowing involves immediate, relational, and transcendent stages or levels. The poetic mind, like the ordinary mind, has at least two types of experience: The first consists largely of feeling (falling in love, smelling the cooking, hearing the noise of the typewriter), the second largely of thought (reading Spinoza). The first type of experience is sensuous, and it is also to a great extent monistic or immediate, for it does not require mediation through the mind; it exists before intellectual analysis, before the falling apart of experience into experiencer and experienced. The second type of experience, in contrast, is intellectual (to be known at all, it must be mediated through the mind) and sharply dualistic, in that it involves a breaking down of experience into subject and object. In the mind of the ordinary person, these two types of experience are and remain disparate. In the mind of the poet, these disparate experiences are somehow transcended and amalgamated into a new whole, a whole beyond and yet including subject and object, mind and matter. Eliot illustrates his explanation of poetic epistemology by saying that John Donne did not simply feel his feelings and think his thoughts; he felt his thoughts and thought his feelings. He was able to "feel his thought as immediately as the odour of a rose." Immediately" in this famous simile is a technical term in philosophy, used with precision; it means unmediated through mind, unshattered into subject and object. Falling in love and reading Spinoza typify Eliot's own experiences in the years in which he was writing The Waste Land. These were the exciting and exhausting years in which he met Vivien Haigh-Wood and consummated a disastrous marriage, the years in which he was deeply involved in reading F. H. Bradley, the years in which he was torn between the professions of philosophy and poetry and in which he was in close and frequent contact with such brilliant and stimulating figures as Bertrand Russell and Ezra Pound, the years of the break from his family and homeland, the years in which in every area of his life he seemed to be between broken worlds. The experiences of these years constitute the material of The Waste Land. The relevant biographical details need not be reviewed here, for they are presented in the introduction to The Waste Land Facsimile. For our purposes, it is only necessary to acknowledge what Eliot himself acknowledged: the material of art is always actual life. At the same time, it should also be noted that material in itself is not art. As Eliot argued in his review of Ulysses, "in creation you are responsible for what you can do with material which you must simply accept." For Eliot, the given material included relations with and observations of women, in particular, of his bright but seemingly incurably ill wife Vivien(ne).

Truth is powerful, and, if not instantly, at least by slow degrees, may make good her possession. Gleams of good sense may penetrate through the thickest clouds of error … and, as the true object of education is not to render the pupil the mere copy of his preceptor, it is rather to be rejoiced in, than lamented, that various reading should lead him into new trains of thinking; open to him new mines of science and new incentives to virtue; and perhaps, by a blended and compound effect, produce in him an improvement which was out of the limits of his lessons, and raise him to heights the preceptor never knew.

Cancer may be seen as a disease of cell replication. The normal processes of cell division and cell death are somehow subverted. A cell that should give rise to healthy offspring escapes from control and divides into malformed facsimiles that replicate themselves without regard to the biological needs of the organism. With millions of cells dying or being formed in the body every day, natural accident would, by itself, lead to a great number of spontaneous abnormal transformations. “It’s a fact that every one of us has a number of tiny cancerous tumours growing in our bodies at every moment,” writes Candace Pert.

The fallacy was obvious. It presupposed that somewhere or other, outside oneself, there was a 'real' world where 'real' things happened. But how could there be such a world? What knowledge have we of anything, save though out own minds? All happenings are in the mind. Whatever happens in all minds, truly happens.

Give samples to interested people only. Give them only to people who exhibit that interest by some effort. Give them only to people whom you have told your story. First create an atmosphere of respect, a desire, an expectation. When people are in that mood, your sample will usually confirm the qualities you claim.

I try to be rational (or at least my imaginary facsimile of what rationality is supposed to be). I try to look at the available data objectively (fully aware that this is impossible). I try to extrapolate what may be happening now into what will be happening later. And this, of course, is where naïve realism punches me in the throat. There's simply no way around the limited ceiling of my own mind. It's flat-out impossible to speculate on the future without (a) consciously focusing on the most obvious aspects of what we already know and (b) unconsciously excluding all the things we don't have the intellectual potential to grasp.

Names are the turning point of who shall be master. - There is so much virtue in names that a nation which produces its own names, haughtily adheres to them, and subordinates others to them, leads all the rest of the nations of the earth. - I also promulge that a nation which has not its own names, but begs them of other nations, has no identity, marches not in front but behind.

So I make one phone call, and just like that, we're eating pizza at 6:30. What is this world? You tap seven abstract figures onto a piece of plastic thin as a billfold, hold that plastic device to your head, use your lungs and vocal cords to indicate more abstractions, and in thirty minutes, a guy pulls up in a 2,000-pound machine made on an island on the other side of the world, fueled by viscous liquid made from the rotting corpses of dead organisms pulled from the desert on yet another side of the world and you give this man a few sheets of green paper representing the abstract wealth of your home nation, and he gives you a perfectly reasonable facsimile of one of the staples of the diet of a people from yet another faraway nation. And the mushrooms are fresh.

Interestingly, forced feminization fantasies are also symbolic representations of our actual life experiences. Because we fi nd the prospect of becoming women so shameful and humiliating, we really do have to be forced into it. We are forced by our unremitting gender dysphoria, by our powerful erotic desires, by our love and admiration for women’s bodies and our wishes to turn our bodies into facsimiles of them, and by our need to honor our strongly held cross-gender identities in order to give meaning and vitality to our lives. If we are prudent, we autogynephilic transsexuals undergo sex reassignment only if we feel we have no other viable alternative: We transition because we feel forced to do so. Forced feminization is, in a very real sense, the story of our lives.

The native islanders had never seen an airplane before, or met people such as these strangers. In return for use of their land, the strangers provided mechanical birds that flew in and out all day long on a “runway,” bringing incredible material wealth to their island home. The strangers mentioned something about war and fighting. One day it was over and they all left, taking their strange riches with them. The islanders were desperate to restore their good fortunes, and re-built a facsimile of the airport, control tower, and equipment using local materials: vines, coconut shells, palm fronds, and such. But for some reason, even though they had everything in place, the planes didn’t come. They had imitated the form, but not the content. Anthropologists call this a cargo cult. All too often, we are the islanders.

... I think it possible that I have watched too many blue movies for it to have a lasting hold on me. If you grow accustomed to wall-to-wall, even the slightest shred of mystery or plot can become an agitation. Who cares why these people have found themselves in this banal, suburban tract home in Burbank? He is not a delivery man; she is not a bored housewife. They are not the stars---their orifices are. Let them open.

Scrooge has some interesting literary ancestors. Pact-makers with the Devil didn’t start out as misers, quite the reverse. Christopher Marlowe’s late-sixteenth-century Doctor Faustus sells his body and soul to Mephistopheles with a loan document signed in blood, collection due in twenty-four years, but he doesn’t do it cheaply. He has a magnificent wish list, which contains just about everything you can read about today in luxury magazines for gentlemen. Faust wants to travel; he wants to be very, very rich; he wants knowledge; he wants power; he wants to get back at his enemies; and he wants sex with a facsimile of Helen of Troy. Helen of Troy isn’t called that in the luxury men’s magazines, she has other names, but it’s the same sort of thing: a woman so beautiful she doesn’t exist, or, worse, may be a demon in disguise. Very hot though, as they say.

It is not beside the point to note that, in the thought which will inspire our revolutions, the supreme good does not, in reality, coincide with existence, but with an arbitrary facsimile. The entire history of mankind is, in any case, nothing but a prolonged fight to the death for the conquest of universal prestige and absolute power. It is, in its essence, imperialist. We are far from the gentle savage of the eighteenth century and from the Social Contract. In the sound and fury of the passing centuries, each separate consciousness, to ensure its own existence, must henceforth desire the death of others. Moreover, this relentless tragedy is absurd, since, in the event of one consciousness being destroyed, the victorious consciousness is not recognized as such, in that it cannot be victorious in the eyes of something that no longer exists. In fact, it is here the philosophy of appearances reaches its limits.

Forgiveness. The ability to forgive oneself. Stop here for a few breaths and think about this because it is the key to making art, and very possibly the key to finding any semblance of happiness in life. Every time I have set out to translate the book (or story, or hopelessly long essay) that exists in such brilliant detail on the big screen of my limbic system onto a piece of paper (which, let’s face it, was once a towering tree crowned with leaves and a home to birds), I grieve for my own lack of talent and intelligence. Every. Single. Time. Were I smarter, more gifted, I could pin down a closer facsimile of the wonders I see. I believe, more than anything, that this grief of constantly having to face down our own inadequacies is what keeps people from being writers. Forgiveness, therefore, is key. I can’t write the book I want to write, but I can and will write the book I am capable of writing. Again and again throughout the course of my life I will forgive myself. In

Maybe it was because of his ignorance of music that he had been capable of receiving so confused an impression, the kind of impression that is, however, perhaps the only one which is purely musical, immaterial, entirely original, irreducible to any other order of impression. An impression of this kind is, for an instant, so to speak, sine materia. No doubt the notes we hear then tend already, depending on their loudness and their quantity, to spread out before our eyes over surfaces of varying dimensions, to trace arabesques, to give us sensations of breadth, tenuousness, stability, whimsy. But the notes vanish before these sensations are sufficiently formed in us not to be submerged by those already excited by the succeeding or even simultaneous notes. And this impression would continue to envelop with its liquidity and its “mellowness” the motifs that at times emerge from it, barely discernible, immediately to dive under and disappear, known only by the particular pleasure they give, impossible to describe, to recall, to name, ineffable—if memory, like a laborer working to put down lasting foundations in the midst of the waves, by fabricating for us facsimiles of these fleeting phrases, did not allow us to compare them to those that follow them and to differentiate them. And so, scarcely had the delicious sensation which Swann had felt died away than his memory at once furnished him with a transcription that was summary and temporary but at which he could glance while the piece continued, so that already, when the same impression suddenly returned, it was no longer impossible to grasp. He could picture to himself its extent, its symmetrical groupings, its notation, its expressive value; he had before him this thing which is no longer pure music, which is drawing, architecture, thought, and which allows us to recall the music. This time he had clearly distinguished one phrase rising for a few moments above the waves of sound. It had immediately proposed to him particular sensual pleasures which he had never imagined before hearing it, which he felt could be introduced to him by nothing else, and he had experienced for it something like an unfamiliar love.

It was the magnesium. The addition of the ion was critical: with the solution supplemented with magnesium, the ribosome remained glued together, and Brenner and Jacob finally purified a miniscule amount of the messenger molecule out of bacterial cells. It was RNA, as expected-but RNA of a special kind. The messenger was generated afreah when a gene was translated. Like DNA, these RNA molecules were built by stringing together four bases-A,G,C, and U (in the RNA copy of a gene, remember, the T found in DNA is substituted for U). Notably, Brenner and Jacob later discovered the messenger RNA was a facsimile of the DNA chain-a copy made from the original. The RNA copy of a gene then moved from the nucleus to the cytosol, where its message was decoded to build a protein. The messenger RNA was neither an inhabitant of heaven nor of hell-but a professional go-between. The generation of an RNA copy of a gene was termed transcription-referring to the rewriting of a word or sentence in a language close to the original. A gene's code (ATGGGCC...) was transcribed into an RNA code (AUGGGCC...).

Much is said of what is spiritual, and of spirituality, in this, that, or the other - in objects, expressions. - For me, I see no object, no expression, no animal, no tree, no art, no book, but I see, from morning to night, and from night to morning, the spiritual. - Bodies are all spiritual, - All words are spiritual - nothing is more spiritual than words. - Whence are they? along how many thousands and tens of thousands of years have they come? those eluding, fluid, beautiful, fleshless, realities, Mother, Father, Water, Earth, Me, This, Soul, Tongue, House, Fire.

arrived in Cambridge, and made an appointment to meet the formidable Krister Stendahl, a Swedish scholar of fierce intelligence, now to be my first adviser. We met in his office. I was nervous, but also amused that this tall and severe man, wearing a black shirt and clerical collar, looked to me like an Ingmar Bergman version of God. After preliminary formalities, he abruptly swiveled in his chair and turned sternly to ask, “So really, why did you come here?” I stumbled over the question, then mumbled something about wanting to find the essence of Christianity. Stendahl stared down at me, silent, then asked, “How do you know it has an essence?” In that instant, I thought, That’s exactly why I came here: to be asked a question like that—challenged to rethink everything. Now I knew I had come to the right place. I’d chosen Harvard because it was a secular university, where I wouldn’t be bombarded with church dogma. Yet I still imagined that if we went back to first-century sources, we might hear what Jesus was saying to his followers when they walked by the Sea of Galilee—we might find the “real Christianity,” when the movement was in its golden age. But Harvard quenched these notions; there would be no simple path to what Krister Stendahl ironically called “play Bible land” simply by digging through history. Yet I also saw that this hope of finding “the real Christianity” had driven countless people—including our Harvard professors—to seek its origins. Naive as our questions were, they were driven by a spiritual quest. We discovered that even the earliest surviving texts had been written decades after Jesus’s death, and that none of them are neutral. They reveal explosive controversy between his followers, who loved him, and outsiders like the Roman senator Tacitus and the Roman court historian Suetonius, who likely despised him. Taken together, what the range of sources does show, contrary to those who imagine that Jesus didn’t exist, is that he did: fictional people don’t have real enemies. What came next was a huge surprise: our professors at Harvard had file cabinets filled with facsimiles of secret gospels I had never heard of—the Gospel of Thomas, the Gospel of Philip, the Gospel of Mary Magdalene, the Gospel of Truth—and dozens of other writings, transcribed by hand from the original Greek into Coptic, and mimeographed in blue letters on pages stamped TOP SECRET. Discovered in 1945, these texts only recently had become available to scholars. This wasn’t what I’d expected to find in graduate school, or even what I wanted—at least, not so long as I still hoped to find answers instead of more questions

Whether it honors them well or not, an essay’s fundamental obligations are supposed to be to the reader. The reader, on however unconscious a level, understands this, and thus tends to approach an essay with a relatively high level of openness and credulity. But a commercial is a very different animal. Advertisements have certain formal, legal obligations to truthfulness, but these are broad enough to allow for a great deal of rhetorical maneuvering in the fulfillment of an advertisement’s primary obligation, which is to serve the financial interests of its sponsor. Whatever attempts an advertisement makes to interest and appeal to its readers are not, finally, for the reader’s benefit. And the reader of an ad knows all this, too—that an ad’s appeal is by its very nature calculated—and this is part of why our state of receptivity is different, more guarded, when we get ready to read an ad. 38 In the case of Frank Conroy’s “essay,” Celebrity Cruises 39 is trying to position an ad in such a way that we come to it with the lowered guard and leading chin we properly reserve for coming to an essay, for something that is art (or that is at least trying to be art). An ad that pretends to be art is—at absolute best—like somebody who smiles warmly at you only because he wants something from you. This is dishonest, but what’s sinister is the cumulative effect that such dishonesty has on us: since it offers a perfect facsimile or simulacrum of goodwill without goodwill’s real spirit, it messes with our heads and eventually starts upping our defenses even in cases of genuine smiles and real art and true goodwill. It makes us feel confused and lonely and impotent and angry and scared. It causes despair.

Very convenient. Anything else?’ ‘Not really. I’m sure, for instance, that you haven’t the slightest interest in a Berger International flight into the Isle of Man, carrying one Marco Rossi.’ Dillon laughed. ‘Well, imagine that.’ ‘If it’s a sea voyage he’s planning, he’s in for a rough ride. Tomorrow and tomorrow night, there’ll be rain squalls and high seas. You’ll know you’re out there!’ ‘Should be interesting.’ ‘Do you have a game plan, Sean?’ ‘Yeah, the game plan is to blow the hell out of the Mona Lisa and deposit two million quid’s worth of arms on the floor of the Irish Sea.’ ‘What about the crew? I’ve got a Captain Martino listed here and five others: Gomez, Fabio, Arturo somebody, an Enrico, a Sancho. You’re going to kill them all, Sean?’ ‘Why not? They’re a reasonable facsimile of scum. They’ve run everything from heroin to human beings, I’m told, and now arms. They shouldn’t have joined if they didn’t want the risk.’ ‘Fine by me. I’ll stay in touch. Speak to you tomorrow.’ ‘Good, but stay on the Berger case. I’m convinced Rossi was responsible for Sara Hesser’s death.’ ‘I’ll see what I can do.’ Oban was enveloped in mist and rain. Beyond Kerrera, the waters looked disturbed in the Firth of Lorn, and clouds draped across the mountain tops. ‘I’ve said it before,’ Billy moaned. ‘What a bloody awful place. I mean, it rains all the bleeding time.’ ‘No, Billy, it rains six days a week.’ Dillon turned to Ferguson. ‘Am I right, General?’ ‘You usually are, Dillon.’ ‘Good. Please join me in the wheelhouse.’ There was a flap to one side of the instrument panel and he pressed a button. Inside was a fuse box and some clips screwed into place. He opened one of the weapons bags, took out a Browning with a twenty-round magazine protruding from its butt. He clipped it into place and added a Walther in the other clips. ‘Ace in the hole.’ He closed the flap. ‘My goodness, you do mean business,’ Ferguson said. ‘I always did, Charles. Now let’s go ashore and eat.’ The early darkness of the far north was against them

Liberal anticulture rests on three pillars: first, the wholesale conquest of nature, which consequently makes nature into an independent object requiring salvation by the notional elimination of humanity; second, a new experience of time as a pastless present in which the future is a foreign land; and third, an order that renders place fungible and bereft of definitional meaning. These three cornerstones of human experience—nature, time and place—form the basis of culture, and liberalism’s success is premised upon their uprooting and replacement with facsimiles that bear the same names. The advance of this anticulture takes two primary forms. Anticulture is the consequence of a regime of standardizing law replacing widely observed informal norms that come to be discarded as forms of oppression; and it is the simultaneous consequence of a universal and homogenous market, resulting in a monoculture that, like its agricultural analogue, colonizes and destroys actual cultures rooted in experience, history, and place. These two visages of the liberal anticulture thus free us from other specific people and embedded relationships, replacing custom with abstract and depersonalized law, liberating us from personal obligations and debts, replacing what have come to be perceived as burdens on our individual autonomous freedom with pervasive legal threat and generalized financial indebtedness. In the effort to secure the radical autonomy of individuals, liberal law and the liberal market replace actual culture with an encompassing anticulture. This anticulture is the arena of our liberty—yet increasingly, it is rightly perceived as the locus of our bondage and even a threat to our continued existence. The simultaneous heady joy and gnawing anxieties of a liberated humanity, shorn of the compass of tradition and inheritance that were the hallmarks of embedded culture, are indicators of liberalism’s waxing success and accumulating failure. The paradox is our growing belief that we are thralls to the very sources of our liberation—pervasive legal surveillance and control of people alongside technological control of nature. As the empire of liberty grows, the reality of liberty recedes. The anticulture of liberalism—supposedly the source of our liberation—accelerates liberalism’s success and demise.

HE DO THE POLICE IN DIFFERENT VOICES: Part I THE BURIAL OF THE DEAD First we had a couple of feelers down at Tom's place, There was old Tom, boiled to the eyes, blind, (Don't you remember that time after a dance, Top hats and all, we and Silk Hat Harry, And old Tom took us behind, brought out a bottle of fizz, With old Jane, Tom's wife; and we got Joe to sing 'I'm proud of all the Irish blood that's in me, 'There's not a man can say a word agin me'). Then we had dinner in good form, and a couple of Bengal lights. When we got into the show, up in Row A, I tried to put my foot in the drum, and didn't the girl squeal, She never did take to me, a nice guy - but rough; The next thing we were out in the street, Oh it was cold! When will you be good? Blew in to the Opera Exchange, Sopped up some gin, sat in to the cork game, Mr. Fay was there, singing 'The Maid of the Mill'; Then we thought we'd breeze along and take a walk. Then we lost Steve. ('I turned up an hour later down at Myrtle's place. What d'y' mean, she says, at two o'clock in the morning, I'm not in business here for guys like you; We've only had a raid last week, I've been warned twice. Sergeant, I said, I've kept a decent house for twenty years, she says, There's three gents from the Buckingham Club upstairs now, I'm going to retire and live on a farm, she says, There's no money in it now, what with the damage don, And the reputation the place gets, on account off of a few bar-flies, I've kept a clean house for twenty years, she says, And the gents from the Buckingham Club know they're safe here; You was well introduced, but this is the last of you. Get me a woman, I said; you're too drunk, she said, But she gave me a bed, and a bath, and ham and eggs, And now you go get a shave, she said; I had a good laugh, couple of laughs (?) Myrtle was always a good sport'). treated me white. We'd just gone up the alley, a fly cop came along, Looking for trouble; committing a nuisance, he said, You come on to the station. I'm sorry, I said, It's no use being sorry, he said; let me get my hat, I said. Well by a stroke of luck who came by but Mr. Donovan. What's this, officer. You're new on this beat, aint you? I thought so. You know who I am? Yes, I do, Said the fresh cop, very peevish. Then let it alone, These gents are particular friends of mine. - Wasn't it luck? Then we went to the German Club, Us We and Mr. Donovan and his friend Joe Leahy, Heinie Gus Krutzsch Found it shut. I want to get home, said the cabman, We all go the same way home, said Mr. Donovan, Cheer up, Trixie and Stella; and put his foot through the window. The next I know the old cab was hauled up on the avenue, And the cabman and little Ben Levin the tailor, The one who read George Meredith, Were running a hundred yards on a bet, And Mr. Donovan holding the watch. So I got out to see the sunrise, and walked home. * * * * April is the cruellest month, breeding lilacs out of the dead land....

Are you free or were you sold a facsimile of freedom?

Most people know nothing about freedom; only the facsimile of freedom into which they were inculcated.