Journalism Truth Quotes

The essence of being human is that one does not seek perfection.

Jessamine recoiled from the paper as if it were a snake. "A lady does not read the newspaper. The society pages, perhaps, or the theater news. Not this filth." "But you are not a lady, Jessamine---," Charlotte began. "Dear me," said Will. "Such harsh truths so early in the morning cannot be good for the digestion.

The tyrant dies and his rule is over, the martyr dies and his rule begins.

If they substituted the word 'Lust' for 'Love' in the popular songs it would come nearer the truth.

Myth is much more important and true than history. History is just journalism and you know how reliable that is.

There are very few human beings who receive the truth, complete and staggering, by instant illumination. Most of them acquire it fragment by fragment, on a small scale, by successive developments, cellularly, like a laborious mosaic.

When the time comes to die, make sure that all you have to do is die!

The best fiction is far more true than any journalism.

My silences had not protected me. Your silence will not protect you. But for every real word spoken, for every attempt I had ever made to speak those truths for which I am still seeking, I had made contact with other women while we examined the words to fit a world in which we all believed, bridging our differences.

Truth exists, only lies have to be invented.

Gossip is like thread wound over a spindle of truth, changing its shape.

The four stages of acceptance: 1. This is worthless nonsense. 2. This is an interesting, but perverse, point of view. 3. This is true, but quite unimportant. 4. I always said so." (Review of The Truth About Death, in: Journal of Genetics 1963, Vol. 58, p.464)

When journalism is silenced, literature must speak. Because while journalism speaks with facts, literature speaks with truth.

Everyone is recharged for the second half, no bell, no forced learning, no principal’s office for tardiness or absenteeism; instead, a voluntary return to our collective pane of learning. Final conversations simmer down and the attention is refocused.

If I'd written all the truth I knew for the past ten years, about 600 people - including me - would be rotting in prison cells from Rio to Seattle today. Absolute truth is a very rare and dangerous commodity in the context of professional journalism.

It is here where education is championed and gratefully pursued as the human right which many in our world classify it to be. For although regarded as a human right, many entitled to education often dismiss its equal standing to other rights of a similar plane: water, food, shelter. Without water, many perish; with education, many complain.

But the truth is, it's not the idea, it's never the idea, it's always what you do with it." (Online journal entry for January 31, 2009)

It is ... through the world of the imagination which takes us beyond the restrictions of provable fact, that we touch the hem of truth.

Birds are and always have been reincarnated old men with Tourette's syndrome having somehow managed to dupe the reproductive saga. They fuck each other and tend to their home repairs and children while never missing their true mission. To scream at the top of their lungs in horrified hellish rage every morning at daybreak to warn us all of the truth. They know the truth. Screaming bloody murder all over the world in our ears, but sadly we don't speak bird.

As I sat dumbfounded, seemingly paralyzed in my corner, resorting to my old, reliable strategy of scribbling when unsure of how to respond to Sanjit, Sanjit appended his counsel with a dose of silence – one reminiscent to that of a few days prior. The students looked upward and downward, fans to notes to pens to toes, outward and inward, peers to souls, and of course, toward the direction of the perceived elephant in the room, Sanjit’s books. Simultaneously, Sanjit confidently and patiently searched among the students before finding my eyes; once connected, the lesson moved forward.

And I'm going to tell the truth: I didn't like that Sean Penn movie Into the Wild so much. Yes! I know it was critically acclaimed. I know it won all these awards! It's very sad that a boy is dead and all. But I thought the movie Enchanted, with the singing princess and the chipmunk and the people dancing in Central Park, was cuter. So there!

And the truth must finally lie in that which every oppressed individual feels within himself but hasn't the courage to express

The truth is that as soon as we are no longer obliged to earn our living, we no longer know what to do with our life and recklessly squander it.

In contrast, the gratification and education received from Sanjit’s classes is slow burning, personal, and in a changing world allegedly becoming more attuned to and obsessed with requiring that money spent – especially on education – must yield tangible results, what many would view as a paradoxical dynamic nevertheless persists there, near Park Circus, Kolkata. No grades, no forced accountability, all voluntary learning.

And sometimes I believe your relentless analysis of June leaves something out, which is your feeling for her beyond knowledge, or in spite of knowledge. I often see how you sob over what you destroy, how you want to stop and just worship; and you do stop, and then a moment later you are at it again with a knife, like a surgeon. What will you do after you have revealed all there is to know about June? Truth. What ferocity in your quest of it. You destroy and you suffer. In some strange way I am not with you, I am against you. We are destined to hold two truths. I love you and I fight you. And you, the same. We will be stronger for it, each of us, stronger with our love and our hate. When you caricature and nail down and tear apart, I hate you. I want to answer you, not with weak or stupid poetry but with a wonder as strong as your reality. I want to fight your surgical knife with all the occult and magical forces of the world.

Fiction that adds up, that suggests a "logical consistency," or an explanation of some kind, is surely second-rate fiction; for the truth of life is its mystery.

Tell people the hammered truth, and it will ring like steel against an anvil.

Three or four threads may be agitated, like telegraph wires, at the same time, and if I were to tap them all I would reveal such a mixture of innocence and duplicity, generosity and calculation, fear and courage, I cannot tell the whole truth simply because I would have to write four journals at once.

Sanjit says his apartment, the same one in which he grew up, has been flooded many times by the midsummer torrents. For what has been for millennia a primarily agricultural society, rains simultaneously destroy, create, and preserve life in India, similar to the functions of the three premier Hindu gods, Shiva, Brahma, and Vishnu. Every time Kolkata gets pounded by a cyclone, or when the monsoon first erupts in June (although the recent warming of the Indian Ocean increasingly disturbs a once-consistent timeline), Sanjit never fails to send along a video, his house flooded – seemingly destroyed – but the smiles on his, Bajju’s, or other house-guest’s faces signify just the opposite, having been cooled and relieved of perpetual heat. Flooded, they remain preserved.

What you read in the newspapers, hear on the radio and see on television, is hardly even the truth as seen by experts; it is the wishful thinking of journalists, seen through filters of prejudice and ignorance.

Perhaps cinema is the most personal art, the most intimate. In cinema only the author's intimate truth will be convincing enough for the audience to accept.

It is the writer's duty to tell the terrible truth, and it is a reader's civic duty to learn this truth. To turn away, to close one's eyes and walk past is to insult the memory of those who have perished.

Yet, the work was not complete. Next, citing Bond’s veranda and our subsequent construction of it as an example, Sanjit elaborated on the thought which he had previously teased, but not fully explained: that when a reader reads, the reader constructs a setting and world and is able to view themselves through this world. However, he also added that when we read, we are not only able to see our constructed world, but to evaluate our constructed world. This is how, Sanjit would argue, we influence and better ourselves, even if unintentionally; for by pausing and analyzing our constructions we may be able to identify our assumptions about people, places, or things. And it is in this way that books may be an expressed form of art, not just for the writer, but also for the reader.

If one were to build the house of happiness, the largest space would be the waiting room.

What I cannot forgive is dishonesty - and no matter what, or how hard, I would rather know the truth of which I today had such a clear & devastating vision from his mouth than hear foul evasions, blurrings and rattiness.

How had she become one of those people who wears yoga pants all day? She used to make fun of those people. With their happiness maps and their gratitude journals and their bags made out of recycled tire treads. But now it seems possible that the truth about getting older is that there are fewer and fewer things to make fun of until finally there is nothing you are sure you will never be.

The media are less a window on reality, than a stage on which officials and journalists perform self-scripted, self-serving fictions.

Advice to Young Journal Keepers. Be lenient with yourself. Conceal your worst faults, leave out your most shameful thoughts, actions, and temptations. Give yourself all the good and interesting qualities you want and haven't got. If you should die young, what comfort would it be to your relatives to read the truth and have to say: It is not a pearl we have lost, but a swine?

Happiness is an elusive state of mind not to be gained by clumsy pursuit.It is given to those who do not sue for it:to be unconcerned about a desired good is probably the only way to possess it.

We are beckoned to see the world through a one-way mirror, as if we are threatened and innocent and the rest of humanity is threatening, or wretched, or expendable. Our memory is struggling to rescue the truth that human rights were not handed down as privileges from a parliament, or a boardroom, or an institution, but that peace is only possible with justice and with information that gives us the power to act justly.

Absolute truth is a very rare and dangerous commodity in the context of professional journalism.

There is nothing to fear except the persistent refusal to find out the truth.

Often as writers, we are surprised by what we learn about ourselves. It runs counter to what we’ve thought about who we are. But it is closer to the truth.

You will be flogged for being right and flogged for being wrong, and it hurts both ways--but it doesn't hurt as much when you're right.

This seems charmingly paradoxical: scientists seek one truth but often voice many opinions; journalists often speak of many truths while voicing a uniform view.

Pender laughed. "Verify? In this day and age? Who cares about verifying anything? It's all about the speed. Who gets there first defines the truth. You know that as well as any man living.

Of course, not everything is unsayable in words, only the living truth.

I said, ‘The truth is whatever you can get away with.’ ‘No, that’s journalism. The truth is whatever you can’t escape.

Once a day, especially in the early years of life and study, call yourselves to an account what new ideas, what new proposition or truth you have gained, what further confirmation of known truths, and what advances you have made in any part of knowledge.

I'm sure it's all journalism [...] It means it's true enough for now.

I wanted Ole Miss to feel special, but mostly I felt that the Ole Miss crowd looked at me like I was just white trash from a town full of trailers.… All was not lost. I saw the movie All The President’s Men, mostly because Robert Redford was the star. The fast-paced world of the Washington Post…captivated me. Sitting in a dark theater that afternoon, I fell in love with the idea of becoming a reporter. That was the movie that clinched my plan to major in journalism and political science…. I'd started Ole Miss as a Lady Rebel but left more rebellious than ladylike.

Not for a moment did he consider keeping a journal. He would never allow anyone to read his private thoughts; therefore, he did not risk writing them down. "I'd rather take it to my grave," he said. And anyway, when was a journal ever honest? "It either tells a lot of truths to cover a single lie, " he said, "or a lot of lies to cover a single truth.

She was truthful, or I was the greatest dupe who ever existed. I can only believe in our ecstasy. I don't want to know, I only want to love her.

I chiefly concern myself with those who seldom get a hearing, & I don't feel it is incumbent on me to balance their voices with the well-crafted apologetics of the powerful. The powerful are generally excellently served by the mainstream media or propaganda organs. The powerful should be quoted, yes, but to measure their pronouncements against the truth, not to obscure it.

I lied!' I spat my whisper at him. 'I knew you read my journal. I knew you read my dreams. I wrote there what I thought would hurt you most! I lied to hurt you. For letting him be dead while you lived. For being loved by him more than he loved me!' I took a breath. 'He loved you more than he ever loved any of the rest of us!

The first step toward finding God--who is truth--is to discover the truth about myself; and if I have been in error, this first step to truth is the discovery of my error

I prefer a painful truth over any blissful fantasy.

As the least drop of wine tinges the whole goblet, so the least particle of truth colors our whole life. It is never isolated, or simply added as treasure to our stock. When any real progress is made, we unlearn and learn anew what we thought we knew before.

In a sense, I'm mad (and withdrawn from life) while they're sane, human, normal - but in another sense, I speak from the depths of a vision of truth when I say that this continual jockeying for position is the enemy of life in itself. It may be life, 'life is like that,' it may be human and true, but it's also the death-part of life, and our purpose after all is to live and be true. We'll see.

I was so caught up in my own misery that I forgot a simple truth: As long as our hearts are beating, there is always opportunity.

I wonder why our life must quiver between beauty and guilt, consummation and sadness, desire and regret, immortality and tattered moments unknowable, truth and beautiful meaningful lies.

Sing and rejoice ye children of the day and the light; for the Lord is at work in this thick night of darkness that may be felt: and the Truth doth flourish as the rose, and lilies do grow among the thorns and the plants atop the hills, and upon them the lambs doth skip and play.

You know this girl. Her hair is neither long nor short nor light nor dark. She parts it precisely in the middle. She sits precisely in the middle of the classroom, and when she used to ride the school bus, she sat precisely in the middle of that, too. She joins clubs, but is never the president of them. Sometimes she is the secretary; usually, just a member. When asked, she has been known to paints sets for the school play. She always has a date to the dance, but is never anyone’s first choice. In point of fact, she’s nobody’s first choice for anything. Her best friend became her best friend when another girl moved away. She has a group of girls she eats lunch with every day, but God, how they bore her. Sometimes, when she can’t stand it anymore, she eats in the library instead. Truth be told, she prefers books to people, and the librarian always seems happy to see her. She knows there are other people who have it worse—she isn’t poor or ugly or friendless or teased. Of course, she’s also aware that the reason no one teases is because no one ever notices her. This isn’t to say she doesn’t have qualities. She is pretty, maybe, if anyone would bother to look. And she gets good enough grades. And she doesn’t drink and drive. And she says NO to drugs. And she is always where she says she will be. And she calls when she’s going to be late. And she feels a little, just a little, dead inside. She thinks, You think you know me, but you don’t. She thinks, None of you has any idea about all the things in my heart. She thinks, None of you has any idea how really and truly beautiful I am. She thinks, See me. See me. See me. Sometimes she thinks she will scream. Sometimes she imagines sticking her head in an oven. But she doesn’t. She just writes it all down in her journal and waits. She is waiting for someone to see.

Many journalists now are no more than channelers and echoers of what George Orwell called the 'official truth'. They simply cipher and transmit lies. It really grieves me that so many of my fellow journalists can be so manipulated that they become really what the French describe as 'functionaires', functionaries, not journalists. Many journalists become very defensive when you suggest to them that they are anything but impartial and objective. The problem with those words 'impartiality' and 'objectivity' is that they have lost their dictionary meaning. They've been taken over... [they] now mean the establishment point of view... Journalists don't sit down and think, 'I'm now going to speak for the establishment.' Of course not. But they internalise a whole set of assumptions, and one of the most potent assumptions is that the world should be seen in terms of its usefulness to the West, not humanity.

The thing that strikes me more and more, is the extraordinary viciousness and dishonesty of political controversy in our time. I don’t mean merely that controversies are acrimonious. They ought to be that when they are on serious subjects. I mean that almost nobody seems to feel that an opponent deserves a fair hearing or that the objective truth matters as long as you can score a neat debating point.

The truth is that this is the only way I can live: in two directions. I need two lives. I am two beings. When I return to Hugo in the evening, to the peace and warmth of the house, I return with deep contentment, as if this was the only condition for me. I bring home to Hugo a whole woman, freed of all 'possessed' fevers, cured of the poison of restlessness and curiosity which used to threaten our marriage, cured through action. Our love lives, because I live. I sustain and feed it. I am loyal to it, in my own way, which cannot be his way. If he ever reads these lines, he must believe me. I am writing calmly, lucidly while waiting for him to come home, as one waits for the chosen lover, the eternal one.

I speak the truth not so much as I want, but as much as I dare, and I dare a little more as I grow older.

The pen had been mightier than the sword but then the tongue took over.

76. David Hume – Treatise on Human Nature; Essays Moral and Political; An Enquiry Concerning Human Understanding 77. Jean-Jacques Rousseau – On the Origin of Inequality; On the Political Economy; Emile – or, On Education, The Social Contract 78. Laurence Sterne – Tristram Shandy; A Sentimental Journey through France and Italy 79. Adam Smith – The Theory of Moral Sentiments; The Wealth of Nations 80. Immanuel Kant – Critique of Pure Reason; Fundamental Principles of the Metaphysics of Morals; Critique of Practical Reason; The Science of Right; Critique of Judgment; Perpetual Peace 81. Edward Gibbon – The Decline and Fall of the Roman Empire; Autobiography 82. James Boswell – Journal; Life of Samuel Johnson, Ll.D. 83. Antoine Laurent Lavoisier – Traité Élémentaire de Chimie (Elements of Chemistry) 84. Alexander Hamilton, John Jay, and James Madison – Federalist Papers 85. Jeremy Bentham – Introduction to the Principles of Morals and Legislation; Theory of Fictions 86. Johann Wolfgang von Goethe – Faust; Poetry and Truth 87. Jean Baptiste Joseph Fourier – Analytical Theory of Heat 88. Georg Wilhelm Friedrich Hegel – Phenomenology of Spirit; Philosophy of Right; Lectures on the Philosophy of History 89. William Wordsworth – Poems 90. Samuel Taylor Coleridge – Poems; Biographia Literaria 91. Jane Austen – Pride and Prejudice; Emma 92. Carl von Clausewitz – On War 93. Stendhal – The Red and the Black; The Charterhouse of Parma; On Love 94. Lord Byron – Don Juan 95. Arthur Schopenhauer – Studies in Pessimism 96. Michael Faraday – Chemical History of a Candle; Experimental Researches in Electricity 97. Charles Lyell – Principles of Geology 98. Auguste Comte – The Positive Philosophy 99. Honoré de Balzac – Père Goriot; Eugenie Grandet 100. Ralph Waldo Emerson – Representative Men; Essays; Journal 101. Nathaniel Hawthorne – The Scarlet Letter 102. Alexis de Tocqueville – Democracy in America 103. John Stuart Mill – A System of Logic; On Liberty; Representative Government; Utilitarianism; The Subjection of Women; Autobiography 104. Charles Darwin – The Origin of Species; The Descent of Man; Autobiography 105. Charles Dickens – Pickwick Papers; David Copperfield; Hard Times 106. Claude Bernard – Introduction to the Study of Experimental Medicine 107. Henry David Thoreau – Civil Disobedience; Walden 108. Karl Marx – Capital; Communist Manifesto 109. George Eliot – Adam Bede; Middlemarch 110. Herman Melville – Moby-Dick; Billy Budd 111. Fyodor Dostoevsky – Crime and Punishment; The Idiot; The Brothers Karamazov 112. Gustave Flaubert – Madame Bovary; Three Stories 113. Henrik Ibsen – Plays 114. Leo Tolstoy – War and Peace; Anna Karenina; What is Art?; Twenty-Three Tales 115. Mark Twain – The Adventures of Huckleberry Finn; The Mysterious Stranger 116. William James – The Principles of Psychology; The Varieties of Religious Experience; Pragmatism; Essays in Radical Empiricism 117. Henry James – The American; The Ambassadors 118. Friedrich Wilhelm Nietzsche – Thus Spoke Zarathustra; Beyond Good and Evil; The Genealogy of Morals;The Will to Power 119. Jules Henri Poincaré – Science and Hypothesis; Science and Method 120. Sigmund Freud – The Interpretation of Dreams; Introductory Lectures on Psychoanalysis; Civilization and Its Discontents; New Introductory Lectures on Psychoanalysis 121. George Bernard Shaw – Plays and Prefaces

A short story is a writer's way of thinking through experience... Journalism aims at accuracy, but fiction's aim is truth. The writer distorts reality in the interest of a larger truth.

So what? Don't we have enough ugliness already? And don't we know these things already? Why always fight ugliness with ugliness, stupidity wit stupidity, displaying still more and more of it? Why not create something beautiful to fight the ugliness with? Not that I am for escapism (although there is nothing wrong with it). René Clair was not an escapist in A Nous la Liberté. And Chaplin never was. No poet ever is. Neither are tulips, willow trees, Louise Brooks, or cranes. But they fight ugliness just by being there, by emanating beauty, peace, truth.

I was winning awards, getting raises, lecturing college classes, appearing on TV shows, and judging journalism contests. And then I wrote some stories that made me realize how sadly misplaced my bliss had been. The reason I'd enjoyed such smooth sailing for so long hadn't been, as I'd assumed, because I was careful and diligent and good at my job... The truth was that, in all those years, I hadn't written anything important enough to suppress.

We cannot withdraw love without damaging ourselves. I have been badly hurt again but I see this morning that it does not really matter because I perceive the truth. Rage is the deprived infant in me but there is also a compassionate mother in me and she will come back with her healing powers in time.

Snake Street is an area I should avoid. Yet that night I was drawn there as surely as if I had an appointment.  The Snake House is shabby on the outside to hide the wealth within. Everyone knows of the wealth, but facades, like the park’s wall, must be maintained. A lantern hung from the porch eaves. A sign, written in Utte, read ‘Kinship of the Serpent’. I stared at that sign, at that porch, at the door with its twisted handle, and wondered what the people inside would do if I entered. Would they remember me? Greet me as Kin? Or drive me out and curse me for faking my death?  Worse, would they expect me to redon the life I’ve shed? Staring at that sign, I pissed in the street like the Mearan savage I’ve become. As I started to leave, I saw a woman sitting in the gutter. Her lamp attracted me. A memsa’s lamp, three tiny flames to signify the Holy Trinity of Faith, Purity, and Knowledge.  The woman wasn’t a memsa. Her young face was bruised and a gash on her throat had bloodied her clothing. Had she not been calmly assessing me, I would have believed the wound to be mortal. I offered her a copper.  She refused, “I take naught for naught,” and began to remove trinkets from a cloth bag, displaying them for sale. Her Utte accent had been enough to earn my coin. But to assuage her pride I commented on each of her worthless treasures, fighting the urge to speak Utte. (I spoke Universal with the accent of an upper class Mearan though I wondered if she had seen me wetting the cobblestones like a shameless commoner.) After she had arranged her wares, she looked up at me. “What do you desire, O Noble Born?” I laughed, certain now that she had seen my act in front of the Snake House and, letting my accent match the coarseness of my dress, I again offered the copper.  “Nay, Noble One. You must choose.” She lifted a strand of red beads. “These to adorn your lady’s bosom?”             I shook my head. I wanted her lamp. But to steal the light from this woman ... I couldn’t ask for it. She reached into her bag once more and withdrew a book, leather-bound, the pages gilded on the edges. “Be this worthy of desire, Noble Born?”  I stood stunned a moment, then touched the crescent stamped into the leather and asked if she’d stolen the book. She denied it. I’ve had the Training; she spoke truth. Yet how could she have come by a book bearing the Royal Seal of the Haesyl Line? I opened it. The pages were blank. “Take it,” she urged. “Record your deeds for study. Lo, the steps of your life mark the journey of your soul.”   I told her I couldn’t afford the book, but she smiled as if poverty were a blessing and said, “The price be one copper. Tis a wee price for salvation, Noble One.”   So I bought this journal. I hide it under my mattress. When I lie awake at night, I feel the journal beneath my back and think of the woman who sold it to me. Damn her. She plagues my soul. I promised to return the next night, but I didn’t. I promised to record my deeds. But I can’t. The price is too high.

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.

Journalists...chronicle our everyday lives. They reveal truths and information that the public deserves to know, and they provide a record for posterity, so that future generations can learn from our mistakes and improve upon our achievements.

How the press, for example, loves to brag to its victims— its readers—about its freedom. Yes, the press may be free to lie and distort and suppress and deceive and malign, but is it free to tell the truth?

Let’s review, shall we?     1. List off your old stories that you’ve gotten into the habit of thinking and saying.     2. Journal about the false rewards you get from them.     3. Feel into these false rewards, thank them for their help, and decide to let them go.     4. Take each false reward and write a new, powerful story to replace it with.     5. Repeat this new story, or affirmation, over and over and over until it becomes your truth.     6. Behold your awesome new life.

What I fear most, I think, is the death of the imagination. When the sky outside is merely pink, and the rooftops merely black: that photographic mind which paradoxically tells the truth, but the worthless truth, about the world. It is that synthesizing spirit, that "shaping" force, which prolifically sprouts and makes up its own worlds with more inventiveness than God which I desire. If I sit still and don't do anything, the world goes on beating like a slack drum, without meaning. We must be moving, working, making dreams to run toward; the poverty of life without dreams is too horrible to imagine.

I don't care if they are reading our mail. Bring it on, Tron! I dare you. Try to take away my freedom of expression. I'm a journalist. A free-speech warrior. I serve in the Army of the First Amendment. I didn't take this job for the bad money, and the regressive health care coverage. I'm here for the truth, the sunshine, the casting open of closed doors!

Truth is the first casualty of war and the war on drugs is no different. Every day both the print and broadcast media bombard the public with a perspective and narrative which has proved to be devastating. This diet of cultural influence and propaganda is unremitting.

Unfortunately, mainstream news has become infotainment, sharing more in common with the entertainment industry than with traditional journalism. Gossip, characterizations and injections of drama are subtly infused with facts, altering the truth in a similar way to how dramatists twist true stories to create greater excitement.

Indeed, to this day, I think if you blame everything on the government, you're not just wrong, you're being reckless. It's as silly as blaming everything on the Freemasons, or the Illuminati, or insert-bad-guy-here. But I do believe that someone must ask the hard questions, especially of our elected officials as well as powerful men who become members of so-called secret societies. Remember: Governments don't lie. People lie. And if you want the real story, you need to find out more about those people.

But newspapers have a duty to truth,' Van said. Lev clucked his tongue. 'They tell the truth only as the exception. Zola wrote that the mendacity of the press could be divided into two groups: the yellow press lies every day without hesitating. But others, like the Times, speak the truth on all inconsequential occasions, so they can deceive the public with the requisite authority when it becomes necessary.' Van got up from his chair to gather the cast-off newspapers. Lev took off his glasses and rubbed his eyes. 'I don't mean to offend the journalists; they aren't any different from other people. They're merely the megaphones of the other people.

Let the tutor make his charge pass everything through a sieve and lodge nothing in his head on mere authority and trust: let not Aristotle's principles be principles to him any more than those of the Stoics or Epicureans. Let this variety of ideas be set before him; he will choose if he can; if not, he will remain in doubt. Only the fools are certain and assured. For if he embraces Xenophon's and Plato's opinions by his own reasoning, they will no longer be theirs, they will be his. He who follows another follows nothing. He finds nothing; indeed he seeks nothing. We are not under a king; let each one claim his own freedom. Let him know that he knows, at least. He must imbibe their ways of thinking, not learn their precepts. And let him boldly forget, if he wants, where he got them, but let him know how to make them his own. Truth and reason are common to everyone, and no more belong to the man who first spoke them than to the man who says them later. It is no more according to Plato than according to me, since he and I understand and see it the same way. The bees plunder the flowers here and there, but afterward they make of them honey, which is all theirs; it is no longer thyme or marjoram. Even so with the pieces borrowed from others; he will transform and blend them to make a work of his own, to wit, his judgment. His education, work, and study aim only at forming this.

My own belief is that one regards oneself, if one is a serious writer, as an instrument for experiencing. Life—all of it-flows through this instrument and is distilled through it into works of art. How one lives as a private person is intimately bound into the work. And at some point I believe one has to stop holding back for fear of alienating some imaginary reader or real relative or friend, and come out with personal truth. If we are to understand the human condition, and if we are to accept ourselves in all the complexity, self-doubt, extravagance of feeling, guilt, joy, the slow freeing of the self to its full capacity for action and creation, both as human being and as artist, we have to know all we can about each other, and we have to be willing to go naked.

Nothing is mightier than our why, nothing stands above it, because in the end there is a why to which no answer is possible. In fact, from why to why, from one step to the next, you get to the end of things. And it is only by travelling from one why to the next, as far as the why that is unanswerable, that man attains the level of the creative principle, facing the infinite, equal to the infinite maybe. So long as he can answer the why he gets lost, he loses his way among things. 'Why this?' I answer, 'because that," and from one explanation to the next I reach the point where no explanation is satisfying, from one explanation to the next I reach zero, the absolute, where truth and falsehood are equivalent, become equal to one another, are identified with one another, cancel each other out in face of the absolute nothing. And so we can understand how all action, all choice, all history is justified, at the end of time, by a final cancelling-out. The why goes beyond everything. Nothing goes beyond the why, not even the nothing, because the nothing is not the explanation; when silence confronts us, the question to which there is no answer rings out in the silence. That ultimate why, that great why is like a light that blots out everything, but a blinding light; nothing more can be made out, there is nothing more to make out.

Not all deceptions are palatable. Untruths are too easy to come by, too quickly exploded, too cheap and ephemeral to give lasting comfort. Mundus vult decipi, but there is a hierarchy of deceptions. Near the bottom of the ladder is journalism: a steady stream of irresponsible distortions that most people find refreshing although on the morning after, or at least within a week, it will be stale and flat. On a higher level we find fictions that men eagerly believe, regardless of the evidence, because they gratify some wish. Near the top of the ladder we encounter curious mixtures of untruth and truth that exert a lasting fascination on the intellectual community.

I can imagine no greater catastrophe than if I were mistaken, and the theory were correct that what I consider secondary instincts or drives are actually primary instincts! Because in that case the emotional plague would rest upon the support of a natural law while its archenemies, truth and sociality, would be relying upon unfounded ethics. Until now both lies and truth have taken recourse to ethics. But only lies have profited because they were able to appear under the guise of truth. Under these circumstances, egoism, theft, petty selfishness, slander, etc., would be the natural rule. (26.july.1943)

Too often, contemporary continental philosophers take the “other” of philosophy to mean literature, but not religion, which is for them just a little too wholly other, a little beyond their much heralded tolerance of alterity. They retain an antagonism to religious texts inherited straight from the Enlightenment, even though they pride themselves on having made the axioms and dogmas of the Enlightenment questionable. But the truth is that contemporary continental philosophy is marked by the language of the call and the response, of the gift, of hospitality to the other, of the widow, the orphan and the stranger, and by the very idea of the “wholly other,” a discourse that any with the ears to hear knows has a Scriptural provenance and a Scriptural resonance. ("A Prologue", Journal of Philosophy and Scripture 1.1, Fall 2003, p. 1).

What do these forests make you feel? Their weight and density, their crowded orderliness. There is scarcely room for another tree and yet there is space around each. They are profoundly solemn yet upliftingly joyous; like the Bible, you can find strength in them that you look for. How absolutely full of truth they are, how full of reality. The juice and essence of life are in them; they teem with life, growth and expansion. They are a refuge for myriads of living things. As the breezes blow among them, they quiver, yet how still they stand developing with the universe. God is among them. He has breathed with them the breath of life, might and patience. They stand developing, springing from tiny seeds, pushing close to Mother Earth. Fluffy baby things first, sheltering beneath their parents, mounting higher, spreading brave braches, pushing with mighty strength not to be denied skywards. Tossing in the breezes, glowing in the sunshine, bathing in the showers, bending below the snow piled on their branches, drinking the dew, rejoicing in creation, bracing each other, sheltering the birds and beasts, the myriad insects.

Dear Tully-- I know you won't be able to stand my fucking funeral. You're not the star. I hope you at least had the photos of me airbrushed. There are so many things I should say to you, but in our lifetime we've said them all. Take care of Johnny and the kids for me, okay? Teach the boys how to be gentlemen and Marah how to be strong. When they're ready, give them my journal and tell them about me when they ask. The truth, too. I want them to know it all. It's going to be hard on you, now. That's one of the things I regret the most. So, here's what I have to say in my beyond-the-grave letter (very dramatic, don't you think?): I know you'll be thinking that I left you, but it's not true. All you have to do is remember Firefly Lane, and you'll find me. There will always be a TullyandKate. BFF <3 Kate

According to Hugh Fudenberg, MD, the world’s leading immunogeneticist and 13th most quoted biologist of our times (nearly 850 papers in peer review journals), if an individual has had five consecutive flu shots between 1970 and 1980 (the years studied) his/her chances of getting Alzheimer’s Disease is ten times higher than if they had one, two or no shots. I asked Dr. Fudenberg why this was so and he said it was due to the mercury and aluminum that is in every flu shot (and most childhood shots). The gradual mercury and aluminum buildup in the brain causes cognitive dysfunction. Is that why Alzheimer’s is expected to quadruple?219

Most of us will. We'll choose knowledge no matter what, we'll maim ourselves in the process, we'll stick our hands into the flames for it if necessary. Curiosity is not our only motive: love or grief or despair or hatred is what drives us on. We'll spy relentlessly on the dead: we'll open their letters, we'll read their journals, we'll go through their trash, hoping for a hint, a final word, an explanation, from those who have deserted us--who've left us holding the bag, which is often a good deal emptier than we'd supposed. But what about those who plant such clues, for us to stumble on? Why do they bother? Egotism? Pity? Revenge? A simple claim to existence, like scribbling your initials on a washroom wall? The combination of presence and anonymity--confession without penance, truth without consequences--it has its attractions. Getting the blood off your hands, one way or another. Those who leave such evidence can scarcely complain if strangers come along afterwards and poke their noses into every single thing that would once have been none of their business. And not only strangers: lovers, friends, relations. We're voyeurs, all of us. Why should we assume that anything in the past is ours for the taking, simply because we've found it? We're all grave robbers, once we open the doors locked by others. But only locked. The rooms and their contents have been left intact. If those leaving them had wanted oblivion, there was always fire.

The truth is that The Wild One -- despite an admittedly fictional treatment -- was an inspired piece of film journalism. Instead of institutionalizing common knowledge, in the style of Time, it told a story that was only beginning to happen and which was inevitably influenced by the film. It gave the outlaws a lasting, romance-glazed image of themselves, a coherent reflection that only a very few had been able to find in a mirror, and it quickly became the bike rider's answer to The Sun Also Rises. The image is not valid, but its wide acceptance can hardly be blamed on the movie. The Wild One was careful to distinguish between "good outlaws" and "bad outlaws," but the people who were most influenced chose to identify with Brando instead of Lee Marvin whose role as the villain was a lot more true to life than Brando's portrayal of the confused hero. They saw themselves as modern Robin Hoods ... virile, inarticulate brutes whose good instincts got warped somewhere in the struggle for self-expression and who spent the rest of their violent lives seeking revenge on a world that done them wrong when they were young and defenseless.

When I first started to remember specific memories of abuse, I felt like I had a storm cloud over me for about two or three days beforehand. When the memory finally surfaced, I felt like I was alone in a dark cave. I stayed in bed just thinking and crying and eating chocolate. I wrote in my healing journal and talked it out with a friend. I examined what I thought and how I felt and cried some more. It was agonizing. The more issues I faced, the stronger I got. It wasn’t a pleasant process, but I knew it would be over in a few days and I would feel alive again. With each memory, I recovered faster and I had longer and longer breaks in between them. Facing them made me stronger. I was able to see more and more of the truth without it overwhelming me. Even though the memories increased in intensity, it was easier to deal with them.

But didn't everyone get everything? Hadn't they had enough yet? Everything on earth is tailored for this everyone. Everyone gets all the TV programs, damn near all the cinema, and about eighty percent of all music. After that come the secondary medium of painting and those other visual arts that do not move. Those are generally just for someone and although you always hear people moaning that there isn't enough of them, in truth someone does all right. Galleries, museums, basements in Berlin, studio flats, journals, bare walls in urban centers—someone gets what they want and deserve, most of the time. But where are the things that no one wants? Every now and then Alex would see or hear something that appeared to be for no one but soon enough it turned out to be for someone and, after a certain amount of advertising revenue had been spent, would explode into the world for everyone. Who was left to make stuff for no one?

Wanting to be through with this quickly, I leaned forward and kissed him. Almost. I lost my nerve halfway there, somewhere around the moment I noticed he had a freckle next to his eye and wondered ridiculously if that was something he would remove if I asked it of him, and instead of a proper kiss, I merely brushed my lips against his. It was a shadow of a kiss, cool and insubstantial, and I almost wish I could be romantic and say it was somehow transformative, but in truth, I barely felt it. But then his eyes came open, and he smiled at me with such innocent happiness that my ridiculous heart gave a leap and would have answered him instantly, if it was the organ in charge of my decision-making. "Choose whenever you wish," he said. "No doubt you will first need to draw up a list of pros and cons, or perhaps a series of bar plots. If you like, I will help you organize them into categories." I cleared my throat. "It strikes me that this is all pointless speculation. You cannot marry me. I am not going to be left behind, pining for you, when you return to your kingdom. I have no time for pining." He gave me an astonished look. "Leave you behind! As if you would consent to that. I would expect to be burnt alive when next I returned to visit. No, Em, you will come with me, and we will rule my kingdom together. You will scheme and strategize until you have all my councillors eating out of your hand as easily as you do Poe, and I will show you everything---everything. We will travel to the darkest parts of my realm and back again, and you will find answers to questions you have never even thought to ask, and enough material to fill every journal and library with your discoveries.

Many things in this period have been hard to bear, or hard to take seriously. My own profession went into a protracted swoon during the Reagan-Bush-Thatcher decade, and shows scant sign of recovering a critical faculty—or indeed any faculty whatever, unless it is one of induced enthusiasm for a plausible consensus President. (We shall see whether it counts as progress for the same parrots to learn a new word.) And my own cohort, the left, shared in the general dispiriting move towards apolitical, atonal postmodernism. Regarding something magnificent, like the long-overdue and still endangered South African revolution (a jagged fit in the supposedly smooth pattern of axiomatic progress), one could see that Ariadne’s thread had a robust reddish tinge, and that potential citizens had not all deconstructed themselves into Xhosa, Zulu, Cape Coloured or ‘Eurocentric’; had in other words resisted the sectarian lesson that the masters of apartheid tried to teach them. Elsewhere, though, it seemed all at once as if competitive solipsism was the signifier of the ‘radical’; a stress on the salience not even of the individual, but of the trait, and from that atomization into the lump of the category. Surely one thing to be learned from the lapsed totalitarian system was the unwholesome relationship between the cult of the masses and the adoration of the supreme personality. Yet introspective voyaging seemed to coexist with dull group-think wherever one peered about among the formerly ‘committed’. Traditionally then, or tediously as some will think, I saw no reason to discard the Orwellian standard in considering modern literature. While a sort of etiolation, tricked out as playfulness, had its way among the non-judgemental, much good work was still done by those who weighed words as if they meant what they said. Some authors, indeed, stood by their works as if they had composed them in solitude and out of conviction. Of these, an encouraging number spoke for the ironic against the literal mind; for the generously interpreted interest of all against the renewal of what Orwell termed the ‘smelly little orthodoxies’—tribe and Faith, monotheist and polytheist, being most conspicuous among these new/old disfigurements. In the course of making a film about the decaffeinated hedonism of modern Los Angeles, I visited the house where Thomas Mann, in another time of torment, wrote Dr Faustus. My German friends were filling the streets of Munich and Berlin to combat the recrudescence of the same old shit as I read: This old, folkish layer survives in us all, and to speak as I really think, I do. not consider religion the most adequate means of keeping it under lock and key. For that, literature alone avails, humanistic science, the ideal of the free and beautiful human being. [italics mine] The path to this concept of enlightenment is not to be found in the pursuit of self-pity, or of self-love. Of course to be merely a political animal is to miss Mann’s point; while, as ever, to be an apolitical animal is to leave fellow-citizens at the mercy of Ideolo’. For the sake of argument, then, one must never let a euphemism or a false consolation pass uncontested. The truth seldom lies, but when it does lie it lies somewhere in between.

Any true definition of preaching must say that that man is there to deliver the message of God, a message from God to those people. If you prefer the language of Paul, he is 'an ambassador for Christ'. That is what he is. He has been sent, he is a commissioned person, and he is standing there as the mouthpiece of God and of Christ to address these people. In other words he is not there merely to talk to them, he is not there to entertain them. He is there - and I want to emphasize this - to do something to those people; he is there to produce results of various kinds, he is there to influence people. He is not merely to influence a part of them; he is not only to influence their minds, not only their emotions, or merely to bring pressure to bear upon their wills and to induce them to some kind of activity. He is there to deal with the whole person; and his preaching is meant to affect the whole person at the very centre of life. Preaching should make such a difference to a man who is listening that he is never the same again. Preaching, in other words, is a transaction between the preacher and the listener. It does something for the soul of man, for the whole of the person, the entire man; it deals with him in a vital and radical manner. I remember a remark made to me a few years back about some studies of mine on “The Sermon on the Mount.” I had deliberately published them in sermonic form. There were many who advised me not to do that on the grounds that people no longer like sermons. The days for sermons, I was told, were past, and I was pressed to turn my sermons into essays and to give them a different form. I was most interested therefore when this man to whom I was talking, and he is a very well-known Christian layman in Britain, said, "I like these studies of yours on “The Sermon on the Mount” because they speak to me.” Then he went on to say, “I have been recommended many books by learned preachers and professors but,” he said, “what I feel about those books is that it always seems to be professors writing to professors; they do not speak to me. But,” he said, “your stuff speaks to me.” Now he was an able man, and a man in a prominent position, but that is how he put it. I think there is a great deal of truth in this. He felt that so much that he had been recommended to read was very learned and very clever and scholarly, but as he put it, it was “professors writing to professors.” This is, I believe, is a most important point for us to bear in mind when we read sermons. I have referred already to the danger of giving the literary style too much prominence. I remember reading an article in a literary journal some five or six years ago which I thought was most illuminating because the writer was making the selfsame point in his own field. His case was that the trouble today is that far too often instead of getting true literature we tend to get “reviewers writing books for reviewers.” These men review one another's books, with the result that when they write, what they have in their mind too often is the reviewer and not the reading public to whom the book should be addressed, at any rate in the first instance. The same thing tends to happen in connection with preaching. This ruins preaching, which should always be a transaction between preacher and listener with something vital and living taking place. It is not the mere imparting of knowledge, there is something much bigger involved. The total person is engaged on both sides; and if we fail to realize this our preaching will be a failure.