Pest Quotes

We've searched our database for all the quotes and captions related to Pest. Here they are! All 100 of them:

She was not a slowpoke grownup. She was a girl who could not wait. Life was so interesting she had to find out what happened next.
Beverly Cleary (Ramona the Pest (Ramona, #2))
Cyber Leader: Daleks, be warned. You have declared war upon the Cybermen. Dalek Sec: This is not war - this is pest control! Cyber Leader: We have five million Cybermen. How many are you? Dalek Sec: Four. Cyber Leader: You would destroy the Cybermen with four Daleks? Dalek Sec: We would destroy the Cybermen with one Dalek! You superior in only one respect. Cyber Leader: What is that? Dalek Sec: You are better at dying.
Russell T. Davies
Baghra," Nikolai said, "how are you this evening?" "Still old and blind," she snarled. "And charming," Nikolai drawled. "Never forget charming." "Whelp." "Hag." "What do you want, pest?
Leigh Bardugo (Ruin and Rising (The Shadow and Bone Trilogy, #3))
It was strange, how easily and quickly protection could cause destruction. Sometimes, Vasher wondered if the two weren't really the same thing. Protect a flower, destroy pests who wanted to feed on it. Protect a building, destroy the plants that could have grown in the soil. Protect a man. Live with the destruction he creates.
Brandon Sanderson (Warbreaker (Warbreaker, #1))
Don’t knock the power of a pest,” Leif said. “Persistence and stubborness can be useful in many situations.
Maria V. Snyder (Storm Glass (Glass, #1))
So who gave him his name?" I asked. "Kerrick," Belen answered. Not who I'd expect. "Why 'Flea'?" A full-out grin spread across Flea's face. "Cause I'm fast and hard to catch." "Because he's a pest and hard to squash," Belen said. "Because he jumps about three feet in the air when you scare him," Loren added. "Because he's annoying and makes us itch with impatience," Quain said. "Thanks, guys. I love you too." Flea made exaggerated kissing noises and patted his ass.
Maria V. Snyder (Touch of Power (Healer, #1))
And when Hugh would grow progressively Gandhi on me, I'd remind him that these were pests---disease carriers who feasted upon the dead and then came indoors to dance upon our silverware.
David Sedaris (When You Are Engulfed in Flames)
If Washington expected relief from Hamilton badgering him for an appointment, he soon learned otherwise. Hamilton was fully prepared to become a pest.
Ron Chernow (Alexander Hamilton)
Words were so puzzling. Present should mean a present just as attack should mean to stick tacks in people.
Beverly Cleary (Ramona the Pest (Ramona, #2))
L'habitude du desepoir est pire que le desespoir lui-meme.
Albert Camus (L'Étranger / La Peste)
Captain Phelan and I dislike each other,” Beatrix told her. “In fact, we’re sworn enemies.” Christopher glanced at her quickly. “When did we become sworn enemies?” Ignoring him, Beatrix said to her sister, "Regardless, he’s staying for tea.” “Wonderful,” Amelia said equably. “Why are you enemies, dear?” “I met him yesterday while I was out walking,” Beatrix explained. “And he called Medusa a ‘garden pest,’ and faulted me for bringing her to a picnic.” Amelia smiled at Christopher. “Medusa has been called many worse things around here, including ‘diseased pincushion,’ and ‘perambulating cactus.
Lisa Kleypas (Love in the Afternoon (The Hathaways, #5))
I am not a pest," Ramona Quimby told her big sister Beezus.
Beverly Cleary (Ramona the Pest (Ramona, #2))
În om se strâng vorbe nerostite, gânduri cărora nici n-ai şti să le dai un nume, lacrimi neplânse la vremea lor, care deodată vin ca o apă umflată de ploaie, revărsată peste mal.
Ileana Vulpescu
Frica e peste tot. Se camuflează atât de bine, încât ajungem să o confundăm cu vina. Apoi vina ne face să ne simțim mărunți și neputincioși. Neputința ne face să ne simțim inutili. Iar din momentul ăla ne abandonăm pentru că nu ne mai dăm nicio șansă. Frica își face loc în cele mai mărunte unghere ale minții. Iar noi o creștem ca pe cel mai de preț animal de companie. Și putem să o alungăm atât de simplu. Prin responsabilitate. Atât. Responsabilitate față de noi înșine.
Adrian Teleşpan (Cimitirul)
Many of us shrink from judicial execution of even the most horrible human criminals, while we cheerfully countenance the shooting without trial of fairly mild animal pests. Indeed we kill members of other harmless species as a means of recreation and amusement. A human foetus, with no more human feeling than an amoeba, enjoys a reverence and legal protection far in excess of those granted to an adult chimpanzee. Yet the chimp feels and thinks and — according to recent experimental evidence — may even be capable of learning a form of human language.
Richard Dawkins (The Selfish Gene)
Those who always know what’s best are a universal pest.
Piet Hein
He told himself she wasn’t really such a bad person, she was just a pest, she was sticky, there was something misplaced in her make-up, something that kept her from fading clear of people when they wanted to be in the clear.
David Goodis (Dark Passage)
I'm in love with you Coreen. Your name is embedded in my soul. Ang laking problema, hindi ba? Kaya sana mabaliw ka lang rin sakin para wala na tayong problem. So, I'm sorry, hindi kita iiwasan. Hindi kita lalayuan. I will forever be the pest in your life until you decide to love me back.
Jonaxx (Heartless)
Let me be me, or let me be.
Anthony Liccione
Nobody looked at him. He passed on unsuspected and deadly, like a pest in the street full of men.
Joseph Conrad (The Secret Agent)
El mal que existe en el mundo proviene casi siempre de la ignorancia, y la buena voluntad sin clarividencia puede ocasionar tantos desastres como la maldad. El vicio más desesperado es el vicio de la ignorancia que cree saberlo todo". La Peste (Albert Camus).
Albert Camus
Men are so self-complacent in their own affairs, and so willing to deceive themselves, that they are rescued with difficulty from this pest. If they wish to defend themselves they run the risk of becoming contemptible.
Niccolò Machiavelli (The Prince)
To prevent becoming overwhelmed by the world around us, we must, as the ancients practiced, learn how to limit our passions and their control over our lives. It takes skill and discipline to bat away the pests of bad perceptions, to separate reliable signals from deceptive ones, to filter out prejudice, expectation, and fear. But it’s worth it, for what’s left is truth. While others are excited or afraid, we will remain calm and imperturbable. We will see things simply and straightforwardly, as they truly are—neither good nor bad.
Ryan Holiday (The Obstacle Is the Way: The Timeless Art of Turning Trials into Triumph)
Nu te gândi la muzică.Trebuie doar să o simți .Las-o să se scurgă peste tine ca apa mării,fara a încerca să o înțelegi .
Daniel Keyes (Flowers for Algernon)
…mis conciudadanos padecen de una vileza congénita, crónica. Esta es una raza ventajosa, envidiosa, rencorosa, embustera, traicionera, ladrona: la peste humana en su más extrema ruindad…
Fernando Vallejo
94 was a good year to be twelve. Star Wars still had two more years as Box Office King, cartoons were still hand-drawn, and the Disney "D" still looked like a backwards "G." Words like "Columbine," "Al Qaeda" and "Y2K" were not synonymous with "terror," and 9-1-1 was an emergency number instead of a date. At twelve years old, summer still mattered. Monarch caterpillars still crawled beneath every milkweed leaf. Dandelions (or "wishes" as Mara called them) were flowers instead of pests. And divorce was still considered a tragedy. Before Mara, carnivals didn't make me sick.
Jake Vander-Ark (The Accidental Siren)
There have been many plagues in the world as there have been wars, yet plagues and wars always find people equally unprepared. [...] When a war breaks out people say: 'It won't last, it's too stupid.' And war is certainly too stupid, but that doesn't prevent it from lasting. Stupidity always carries doggedly on, as people wold notice if they were not always thinking about themselves. In this respect, the citizens of Oran were like the rest of the world, they thought about themselves, in other words, they were humanists: they did not believe in pestilence. A pestilence does not have human dimensions, so people tell themselves that it is unreal, that it is a bad dream which will end. But it does not always end and, from one bad dream to the next, it is people who end, humanists first of all because they have not prepared themselves.
Albert Camus (The Plague)
Departarile profilau o civilizatie ca o silueta daramata, pamantul astepta un nou transformism, si eram ultimii oameni cu ultimul ecou monoton peste aceste valuri...
George Bacovia (Bucăţi de noapte)
Singurătatea absolută? O concep cîteodată aşa: în tren, pe un culoar ticsit, stînd pe geamantan. Eşti atunci departe nu numai de orice om, mai ales de cei care te împiedică să te mişti; dar eşti departe şi de orice punct fix în spaţiu. Eşti undeva, între o staţie şi alta, rupt de ceva, în drum spre altceva, scos din timp, scos din rost, purtat de tren, purtînd după tine un alt tren, cu oameni, situaţii, mărfuri, idei, una peste alta, în vagoane pe care le laşi în staţii, le pierzi între staţii, le uiţi în spaţii, golind lumea, gonind peste lume, singur, mai singur, nicăieri de singur. îmi plac curbele căilor ferate. Sînt îndeajuns de plecate pentru ca un tren în viteză să nu cadă în afară, dar şi îndeajuns de puţin plecate pentru ca un tren fără viteză să nu cadă înăuntru. Coexistenţa contrariilor.
Constantin Noica (Jurnal filozofic)
Candlelight glittered off the diamond spires in the ruby crown as Isbeth glanced down at the Craven. “I don’t know if you realize this or not,” I said casually, “but you have a pest problem.
Jennifer L. Armentrout (The War of Two Queens (Blood and Ash, #4))
In an earlier stage of our development most human groups held to a tribal ethic. Members of the tribe were protected, but people of other tribes could be robbed or killed as one pleased. Gradually the circle of protection expanded, but as recently as 150 years ago we did not include blacks. So African human beings could be captured, shipped to America, and sold. In Australia white settlers regarded Aborigines as a pest and hunted them down, much as kangaroos are hunted down today. Just as we have progressed beyond the blatantly racist ethic of the era of slavery and colonialism, so we must now progress beyond the speciesist ethic of the era of factory farming, of the use of animals as mere research tools, of whaling, seal hunting, kangaroo slaughter, and the destruction of wilderness. We must take the final step in expanding the circle of ethics. -
Peter Singer
The size and height of the tree determines how heavily the ground will shake when it falls. The cassava tree falls and not even the pests in the forest are aware. The baobab tree falls and the whole forest looks empty! Such is human life!
Israelmore Ayivor (The Great Hand Book of Quotes)
And I'll close by saying this. Because anti-Semitism is the godfather of racism and the gateway to tyranny and fascism and war, it is to be regarded not as the enemy of the Jewish people, I learned, but as the common enemy of humanity and of civilisation, and has to be fought against very tenaciously for that reason, most especially in its current, most virulent form of Islamic Jihad. Daniel Pearl's revolting murderer was educated at the London School of Economics. Our Christmas bomber over Detroit was from a neighboring London college, the chair of the Islamic Students' Society. Many pogroms against Jewish people are being reported from all over Europe today as I'm talking, and we can only expect this to get worse, and we must make sure our own defenses are not neglected. Our task is to call this filthy thing, this plague, this—this pest, by its right name; to make unceasing resistance to it, knowing all the time that it's probably ultimately ineradicable, and bearing in mind that its hatred towards us is a compliment, and resolving (some of the time, at any rate) to do a bit more to deserve it. Thank you.
Christopher Hitchens
Spiders are anti-social, keep pests under control, and mostly mind their own business, but they somehow summon fear in humans who are far more dangerous, deceitful and have hurt more people. Of the two I'm more suspicious about the latter.
Donna Lynn Hope
-Oamenii care intarzie de obicei nu inteleg niciodata nenumaratele moduri in care dau peste cap programul celor punctuali si normali, ii spuse Penn in timp ce tranversau o portiune mai alunecoasa a peluzei.
Lauren Kate (Fallen (Fallen, #1))
Liniste Atâta linişte-i în jur de-mi pare că aud cum se izbesc de geamuri razele de lună. În piept mi s-a trezit un glas străin şi-un cântec cânta-n mine-un dor ce nu-i al meu. Se spune că strămoşii cari au murit fără de vreme, cu sânge tânăr înca-n vine, cu patimi mari în sânge, cu soare viu în patimi, vin, vin sa-şi trăiasca mai departe în noi viaţa netrăita. Atâta linişte-i în jur de-mi pare că aud cum se izbesc de geamuri razele de lună. O, cine ştie - suflete,-n ce piept îţi vei cânta şi tu odată peste veacuri pe coarde dulci de linişte, pe harfă de-ntuneric - dorul sugrumat şi frânta bucurie de viaţă? Cine ştie? Cine ştie? (1919)
Lucian Blaga (Poemele luminii)
A plant that lives where it should not is simply a pest, but a plant that thrives where it should not live is a weed. We don’t resent the audacity of the weed, as every seed is audacious; we resent its fantastic success. Humans are actively creating a world where only weeds can live and then feigning shock and outrage upon finding so many.
Hope Jahren (Lab Girl)
Ţin locul unei pietre din pavaj, Am ajuns aici Printr-o regretabilă confuzie. Au trecut peste mine Maşini mici, Autocamioane, Tancuri Şi tot felul de picioare. Am simţit soarele până la osii, Şi luna Pe la miezul nopţii. Norii mă apasă cu umbra lor, De evenimente grele Şi importante Am făcut bătături. Şi cu toate că-mi suport Cu destul stoicism Soarta mea de granit, Câteodată mă pomenesc urlând : Circulaţi numai pe partea carosabilă A sufletului meu, Barbarilor!
Marin Sorescu
Îţi rămân în minte clipe din viaţă când te-ai simţit fericit, inexplicabil de fericit, vezi tu, mai târziu. Mai târziu îţi dai seama că acea clipă de fericire şi linişte era pândită de necazuri mari, ce nu peste mult aveau să se declanşeze; totuşi, păstrezi o amintire bună de- atunci.
Gabriela Adameșteanu (Dimineaţă pierdută)
With a tiny bit of effort, the nettle would be useful; if you neglect it, it becomes a pest. So then we kill it. How many men are like nettles... My friends, there is no such thing as a weed and no such thing as a bad man. There are only bad cultivators.
Victor Hugo
Vîrsta ne schimbă atît de mult, uneori uiţi că ai fost copil, ai impresia că te-ai născut aşa, bătrîn, şi totuşi sînt unele fleacuri care-ţi rămîn adînc înrădăcinate. Clişee unde adultul dă mîna cu puştiul care trăgea la fit şi tocea peste vară la teorema lui Pitagora. De cînd mă ştiu, prima ninsoare m-a scos din minţi... Îmi venea să urlu de bucurie... Ca şi mirosul ăla special din martie. Un miros de verde, de pămînt...
Rodica Ojog-Braşoveanu (Cianură pentru un surâs (Melania Lupu #1))
Sigur, intuiţia morţii proprii (care este un fapt tîrziu, o descoperire uimită, cum de nu mi‑am dat seama ?) produce în minţile noastre măcar o tresărire : „Aha, peste x ani, sau peste x zile, sau peste un ceas, sau peste un minut, sau peste o secundă, sau chiar acum, nu voi mai fi, iar acest univers indiferent, care n‑a constatat niciodată prezenţa mea în cuprinsul lui, nu‑mi va constata nici absenţa. Asta este !”. Dar, de obicei, intuiţia cu pricina nu devine o obsesie, nu cădem în nevroza aşteptării, dimpotrivă, trăim ca şi cum nu vom muri niciodată şi nu ne gîndim clipă de clipă la sfîrşit, cum cerea stăruitor acelaşi Lucius Annaeus Seneca, într‑un „exerciţiu spiritual”.
Valeriu Gherghel (Roata plăcerilor: de ce n-au iubit unii înţelepţi cărţile?)
Things you don't need in your life targets you the most.
Michael Bassey Johnson (The Book of Maxims, Poems and Anecdotes)
Într-un loc cu oameni și fantome, nu fantomele sunt cele mai rele. Că nu fantomele ucid oameni, nu întotdeauna. Că uneori oamenii ucid oameni. Iar teroarea nu e în afara noastră, ci în propria minte. Acolo e iadul cel mai fără scăpare, pentru că-l porți peste tot cu tine, și nu-l poți da deoparte.
Cristina Nemerovschi (Zilele noastre care nu vor mai fi niciodată)
You see, doubt is a magnificently difficult pest of which to try and rid oneself and is worse than any other kind of infestation. It can creep in quietly and through the tiniest of cracks and once inside, it is almost impossible to ever completely remove.
Suzanne Rindell (The Other Typist)
I often wonder, in a catfight, when one doesn't want to fight, if the other cat calls it a pussy.
Anthony Liccione
Filozofia nu e posibilă decît în oraş, printre oameni, pe pieţele acelea de care nu se dezlipea Socrate. Singură întîlnirea cu celălalt ţi-o dă. Puneţi etaje peste etaje, suprimaţi grădinile (sau lăsaţi cel mult aceste convenţionale grădini publice) — şi undeva, lîngă o scară de serviciu, se va naşte un filozof.
Constantin Noica (Jurnal filozofic)
Ramanea ca totul e luna inclina spre apus cu o lumina de spaima peste orasul adormit in zapada, reflectandu-se si pe multe fotografii de portelan prin cimitire... Nu stiu cine a pus sa stea in aer o foaie de hartie pe un fir de paianjen si o singuratate din toate timpurile sa doarma pe acesti pereti.
George Bacovia (Bucăţi de noapte)
Sniffer of carrion, premature gravedigger, seeker of the nest of evil in the bosom of a good word, you, who sleep at our vigil and fast for our feast, you with your dislocated reason, have cutely foretold, a jophet in your own absence, by blind poring upon your many scalds and burns and blisters, impetiginous sore and pustules, by the auspices of that raven cloud, your shade, and by the auguries of rooks in parlament, death with every disaster, the dynamatisation of colleagues, the reducing of records to ashes, the levelling of all customs by blazes, the return of a lot of sweetempered gunpowdered didst unto dudst but it never stphruck your mudhead's obtundity (O hell, here comes our funeral! O pest, I'll miss the post!) that the more carrots you chop, the more turnips you slit, the more murphies you peel, the more onions you cry over, the more bullbeef you butch, the more mutton you crackerhack, the more potherbs you pound, the fiercer the fire and the longer your spoon and the harder you gruel with more grease to your elbow the merrier fumes your new Irish stew.
James Joyce (Finnegans Wake)
Pentru că au sâni rotunzi, cu gurguie care se ridică prin bluză când le e frig, pentru că au fundul mare şi grăsuţ, pentru că au feţe cu trăsături dulci ca ale copiilor, pentru că au buze pline, dinţi decenţi şi limbi de care nu ţi-e silă. Pentru că nu miros a transpiraţie sau a tutun prost şi nu asudă pe buza superioară. Pentru că le zâmbesc tuturor copiilor mici care trec pe lângă ele. Pentru că merg pe stradă drepte, cu capul sus, cu umerii traşi înapoi şi nu răspund privirii tale când le fixezi ca un maniac. Pentru că trec cu un curaj neaşteptat peste toate servitutile anatomiei lor delicate. Pentru că în pat sunt îndrăzneţe şi inventive nu din perversitate, ci ca să-ţi arate că te iubesc. Pentru că fac toate treburile sâcâitoare şi mărunte din casă fără să se laude cu asta şi fără să ceară recunoştinţă. Pentru că nu citesc reviste porno şi nu navighează pe site-uri porno. Pentru că poartă tot soiul de zdrăngănele pe care şi le asortează la îmbrăcăminte după reguli complicate şi de neînţeles. Pentru că îşi desenează şi-şi pictează feţele cu atenţia concentrată a unui artist inspirat. Pentru că au obsesia pentru subţirime a lui Giacometti. Pentru că se trag din fetiţe. Pentru că-şi ojează unghiile de la picioare. Pentru că joacă şah, whist sau ping-pong fără sa le intereseze cine câştigă. Pentru că şofează prudent în maşini lustruite ca nişte bomboane, aşteptând să le admiri când sunt oprite la stop şi treci pe zebră prin faţa lor. Pentru că au un fel de-a rezolva probleme care te scoate din minţi. Pentru că au un fel de-a gândi care te scoate din minţi. Pentru că-ţi spun „te iubesc” exact atunci când te iubesc mai puţin, ca un fel de compensaţie. Pentru că nu se masturbează. Pentru că au din când în când mici suferinţe: o durere reumatică, o constipaţie, o bătătură, şi-atunci îţi dai seama deodată că femeile sunt oameni, oameni ca şi tine. Pentru că scriu fie extrem de delicat, colecţionând mici observaţii şi schiţând subtile nuanţe psihologice, fie brutal şi scatologic ca nu cumva să fie suspectate de literatură feminină. Pentru că sunt extraordinare cititoare, pentru care se scriu trei sferturi din poezia şi proza lumii. Pentru că le înnebuneşte „Angie” al Rolling-ilor. Pentru că le termină Cohen. Pentru că poartă un război total şi inexplicabil contra gândacilor de bucătărie. Pentru că până şi cea mai dură bussiness woman poartă chiloţi cu înduioşătoare floricele şi danteluţe. Pentru că e aşa de ciudat să-ntinzi la uscat, pe balcon, chiloţii femeii tale, nişte lucruşoare umede, negre, roşii şi albe, parte satinate, parte aspre, mirându-te ce mici suprafeţe au de acoperit. Pentru că în filme nu fac duş niciodată înainte de-a face dragoste, dar numai în filme. Pentru că niciodată n-ajungi cu ele la un acord în privinţa frumuseţii altei femei sau a altui bărbat. Pentru că iau viaţa în serios, pentru că par să creadă cu adevărat în realitate. Pentru că le interesează cu adevărat cine cu cine s-a mai cuplat dintre vedetele de televiziune. Pentru că ţin minte numele actriţelor şi actorilor din filme, chiar ale celor mai obscuri. Pentru că dacă nu e supus nici unei hormonizări embrionul se dezvoltă întotdeauna într-o femeie. Pentru că nu se gândesc cum să i-o tragă tipului drăguţ pe care-l văd în troleibuz. Pentru că beau porcării ca Martini Orange, Gin Tonic sau Vanilia Coke. Pentru că nu-ţi pun mâna pe fund decât în reclame. Pentru că nu le excită ideea de viol decât în mintea bărbaţilor. Pentru că sunt blonde, brune, roşcate, dulci, futeşe, calde, drăgălaşe, pentru că au de fiecare dată orgasm. Pentru că dacă n-au orgasm nu îl mimează. Pentru că momentul cel mai frumos al zilei e cafeaua de dimineaţă, când timp de o oră ronţăiţi biscuiţi şi puneţi ziua la cale. Pentru că sunt femei, pentru că nu sunt bărbaţi, nici altceva. Pentru că din ele-am ieşit şi-n ele ne-ntoarcem, şi mintea noastră se roteşte ca o planetă greoaie, mereu şi mereu, numai în jurul lor.
Mircea Cărtărescu (De ce iubim femeile)
Long before it was known to me as a place where my ancestry was even remotely involved, the idea of a state for Jews (or a Jewish state; not quite the same thing, as I failed at first to see) had been 'sold' to me as an essentially secular and democratic one. The idea was a haven for the persecuted and the survivors, a democracy in a region where the idea was poorly understood, and a place where—as Philip Roth had put it in a one-handed novel that I read when I was about nineteen—even the traffic cops and soldiers were Jews. This, like the other emphases of that novel, I could grasp. Indeed, my first visit was sponsored by a group in London called the Friends of Israel. They offered to pay my expenses, that is, if on my return I would come and speak to one of their meetings. I still haven't submitted that expenses claim. The misgivings I had were of two types, both of them ineradicable. The first and the simplest was the encounter with everyday injustice: by all means the traffic cops were Jews but so, it turned out, were the colonists and ethnic cleansers and even the torturers. It was Jewish leftist friends who insisted that I go and see towns and villages under occupation, and sit down with Palestinian Arabs who were living under house arrest—if they were lucky—or who were squatting in the ruins of their demolished homes if they were less fortunate. In Ramallah I spent the day with the beguiling Raimonda Tawil, confined to her home for committing no known crime save that of expressing her opinions. (For some reason, what I most remember is a sudden exclamation from her very restrained and respectable husband, a manager of the local bank: 'I would prefer living under a Bedouin muktar to another day of Israeli rule!' He had obviously spent some time thinking about the most revolting possible Arab alternative.) In Jerusalem I visited the Tutungi family, who could produce title deeds going back generations but who were being evicted from their apartment in the old city to make way for an expansion of the Jewish quarter. Jerusalem: that place of blood since remote antiquity. Jerusalem, over which the British and French and Russians had fought a foul war in the Crimea, and in the mid-nineteenth century, on the matter of which Christian Church could command the keys to some 'holy sepulcher.' Jerusalem, where the anti-Semite Balfour had tried to bribe the Jews with the territory of another people in order to seduce them from Bolshevism and continue the diplomacy of the Great War. Jerusalem: that pest-house in whose environs all zealots hope that an even greater and final war can be provoked. It certainly made a warped appeal to my sense of history.
Christopher Hitchens (Hitch 22: A Memoir)
The dead man in Yossarian's tent was a pest, and Yossarian didn't like him, even though he had never seen him. Having him laying around all day annoyed Yossarian so much that he had gone to the orderly room several times to complain to Sergeant Towser, who refused to admit that the dead man even existed, which, of course, he no longer did.
Joseph Heller (Catch-22)
Alec’s eyes glittered for a moment, bright blue under coal-black lashes. He stood up and came over to where Clary was standing by the door. “Wise girl,” he said. “You didn’t always think I was wise.” “No, I thought you were a pest, but I know better now.” He dropped a kiss on top of her head and went out the door, still carrying his tulip.
Cassandra Clare (Lady Midnight (The Dark Artifices, #1))
My earliest recollection is of coming upon some rabbit tracks in the backyard snow. I must have been three or so, but I had never seen a rabbit and can still recall the feeling of being completely captivated by the tracks: Someone had been here. And he left these prints. And he was alive. And he lived somewhere nearby, maybe even watching me at this very moment. Four decades later, I do not need to be reminded that rabbits are often a nuisance to farmers and gardeners. My point is that when you look at a rabbit and can see only a pest, or vermin, or a meal, or a commodity, or a laboratory subject, you aren't seeing the rabbit anymore. You are seeing only yourself and the schemes and appetites we bring to the world--seeing, come to think of it, like an animal instead of as a moral being with moral vision.
Matthew Scully (Dominion: The Power of Man, the Suffering of Animals, and the Call to Mercy)
որևէ քաղաք ճանաչելու ամենաճիշտ ձևերից մեկն էլ իմանալն է, թե ինչպե՞ս են այնտեղ աշխատում, ինչպե՞ս են սիրում, և ինչպե՞ս են մեռնում:
Albert Camus
Şi noi suntem iubirea. Şi adevărul. Noi suntem universul. Vom trece peste un timp în particulele de aer, vom muri şi vom învia în flori, ne vom topi în picături de ploaie torenţială. Vreau să îi spun toate astea, şi nu ar fi decât o minusculă firimitură din înţelegerea mea din acest moment. Îi privesc însă ochii roşii, umezi şi îmi dau seama că nu ar avea rost. Ea ştie.
Cristina Nemerovschi (Sânge Satanic (Sânge Satanic, #1))
You call me disrespectful When it’s not possible in my being To disrespect A pebble in the street. A bug on the wall. A leaf on a tree. Or any of God’s creatures. Even those that are pests or perhaps unsafe. How can you say that I am so... With the man I love? All you need to do is to Turn back the words you say to me And say them to yourself To know the truth. You're just looking in the mirror And seeing yourself when you look at me. It’s called projection... One letter away from protection. And this understanding Is the only thing That brings me comfort.
Kate McGahan
You can’t just do whatever you feel like.” “You can’t just do anything you want.” “You have to learn self-restraint.” “You’re only interested in gratifying your desires.” “You don’t care about anything but your own pleasure.” Can you hear the judgmentality in these admonitions? Can you see how they reproduce the mentality of domination that runs our civilization? Goodness comes through conquest. Health comes through conquering bacteria. Agriculture is improved by eliminating pests. Society is made safe by winning the war on crime. On my walk today, students accosted me, asking if I wanted to join the “fight” against pediatric cancer. There are so many fights, crusades, campaigns, so many calls to overcome the enemy by force. No wonder we apply the same strategy to ourselves. Thus it is that the inner devastation of the Western psyche matches exactly the outer devastation it has wreaked upon the planet. Wouldn’t you like to be part of a different kind of revolution?
Charles Eisenstein (The More Beautiful World Our Hearts Know Is Possible (Sacred Activism Book 2))
in heavenly realms of hellas dwelt two very different sons of zeus: one, handsome strong and born to dare --a fighter to his eyelashes-- the other,cunning ugly lame; but as you'll shortly comprehend a marvellous artificer now Ugly was the husband of (as happens every now and then upon a merely human plane) someone completely beautiful; and Beautiful,who(truth to sing) could never quite tell right from wrong, took brother Fearless by the eyes and did the deed of joy with him then Cunning forged a web so subtle air is comparatively crude; an indestructible occult supersnare of resistless metal: and(stealing toward the blissful pair) skilfully wafted over them- selves this implacable unthing next,our illustrious scientist petitions the celestial host to scrutinize his handiwork: they(summoned by that savage yell from shining realms of regions dark) laugh long at Beautiful and Brave --wildly who rage,vainly who strive; and being finally released flee one another like the pest thus did immortal jealousy quell divine generosity, thus reason vanquished instinct and matter became the slave of mind; thus virtue triumphed over vice and beauty bowed to ugliness and logic thwarted life:and thus-- but look around you,friends and foes my tragic tale concludes herewith: soldier,beware of mrs smith
E.E. Cummings
Eşti undeva,într-o staţie şi alta, rupt de ceva, în drum spre altceva, scos din timp, scos din rost, purtat de tren, purtând după tine un alt tren, cu oameni,situaţii,mărfuri,idei, una peste alta, în vagoane pe care le laşi în staţii, le pierzi între staţii, golind lumea, gonind peste lume, singur, mai singur, nicăieri de singur.
Constantin Noica (Jurnal filozofic)
A charge often levied against organic agriculture is that it is more philosophy than science. There's some truth to this indictment, if that it what it is, though why organic farmers should feel defensive about it is itself a mystery, a relic, perhaps, of our fetishism of science as the only credible tool with which to approach nature. ... The peasant rice farmer who introduces ducks and fish to his paddy may not understand all the symbiotic relationships he's put in play--that the ducks and fishes are feeding nitrogen to the rice and at the same time eating the pests. But the high yields of food from this ingenious polyculture are his to harvest even so.
Michael Pollan (The Omnivore's Dilemma: A Natural History of Four Meals)
Uite, daca-mi strang sufletul, nu se prinde nimic in el. Oricum, am ajuns departe, foarte departe. O mai fi ceva? Arborii cresc, le dau mugurii, le pica frunzele si se intreaba: o mai fi ceva? Oamenii iubesc, stau de vorba si mor. O mai fi ceva? Mortii tac. Scruteaza vesnicia si tac. Lasa iarba sa-i faca optimisti pana in toamna. Atunci mor din nou peste moartea lor veche, gramada. Si tac, si tac, si tac.
Marin Sorescu (Thirst of the Salt Mountain: Trilogy of Plays)
Un cuplu care durează este, în mod paradoxal, un cuplu care acceptă că este muritor, și se trăiește pe sine ca fiind releul unei aventuri care-l depășește. Puterea cuplului amoros stă în aceea că este imperfect și maleabil, protejat chiar de ceea ce-l face vulnerabil. Fiind imperfect, el poate fi reformat la nesfârșit. El rămâne, în ceea ce are esențial, o promisiune aruncată peste abisul îndoielii, un pariu pe longevitate, un act de încredere în puterile fecunde ale timpului.
Pascal Bruckner (The Paradox of Love)
N-am avut niciodată voluptatea inconştientă a omului sănătos, nici optimismul simplist al celui care scrie pe apă erezînd că face o operă durabilă. Ceva în maşinăria subtilă a fiinţei mele a fost dereglat în permanenţă, poate chiar din copilăria mea tristă cînd duceam morţii închipuiţi la cimitir, ori poate încă de la naştere cînd mi-a fost transmis orgoliul îngrozitor care a dat peste cap viaţa bunicului... În orice caz numai dragostea şi creaţia fac viaţa vrednică de a fi trăită şi, totodată, de a fi părăsită fără regret. N-am creat nimic care să rămînă generaţiilor viitoare, dar am avut dragostea...
Mihail Drumeş (Invitaţia la vals)
Ambos siguieron atentos a los rumores crecientes sobre la gravedad de la peste, y aun contra sus deseos tuvieron que conversar otra vez sobre asuntos que les eran comunes, como en los tiempos en que se odiaban menos. Para él era claro. Siempre creyó que amaba a la hija, pero el miedo al mal de rabia lo obligaba a confesarse que se engañaba a sí mismo por comodidad. Bernarda, en cambio, no se lo preguntó siquiera, pues tenía plena conciencia de no amarla ni de ser amada por ella, y ambas cosas le parecían justas. Mucho del odio que ambos sentían por la niña era por lo que ella tenía del uno y del otro. Sin embargo, Bernarda estaba dispuesta a hacer la farsa de las lágrimas y a guardar un luto de madre.
Gabriel García Márquez
Lenea e aproape tot atât de tare ca şi viaţa. Banalitatea noii farse pe care trebuie s-o joci te copleşeşte şi, una peste alta, ai nevoie de mai multă laşitate decât curaj ca s-o iei de la capăt. Ăsta-i exilul, străinătatea, această inexorabilă observare a existenţei aşa cum e ea de-adevărat în cursul celor câteva ore lucide, excepţionale, din urzeala timpului omenesc, când obiceiurile ţării dinainte te părăsesc, fără ca celelalte, cele noi, să te fi îndobitocit îndeajuns.
Louis-Ferdinand Céline (Journey to the End of the Night)
Kaien Cross: You both entered the room in the same pose! Ooh! If Yuki had seen it, she'd have been so happy! The mystique! Ichiru: Zero, is he always like this? Zero: Yeah...he doesn't act anything like his "former self" now...why're you sticking to me? Ichiru: Because you hate it when I do it (I'm being a pest). Zero(to Cross): Hey. Don't take a photo. Kaien Cross (thinking): The Kiryus really are twins.
Matsuri Hino (ヴァンパイア騎士 10 (Vampire Knight, #10))
Patima din glasul lui Ion îl infiora pe Titu. Îndîrjirea, egoismul și cruzimea cu care omul acesta a urmărit o țintă, fără să se uite în dreapta și în stânga, îl infricoșau, dar îl și mișcau. Se gândi la șovăielile lui din vremea aceasta, la zig-zagurile neputincioase, la alergările lui după țeluri de-abia întrezărite și se simți mic în fața țăranului care a mers drept înainte, trecând nepăsător peste toate piedicile, luptând neobosit, împins de o patimă mare. El se frământă cu dorințe nelămurite, făurește planuri peste puterile lui, trăiește cu visuri fermecate, și alături de dânsul viața înaintează vijelios. Un simțământ de slăbiciune îi strânse inima.
Liviu Rebreanu (Ion)
However, when we step into farm fields, the vegetation becomes very quiet. Thanks to selective breeding, our cultivated plants have, for the most part, lost the ability to communicate above or below ground-you could say they are deaf and dumb-and therefore they are easy prey for insect pests. That is one reason why modern agriculture uses so many pesticides. Perhaps farmers can learn from the forests and breed a little more wildness back into their grain and potatoes so that they'll be more talkative in the future.
Peter Wohlleben (The Hidden Life of Trees: What They Feel, How They Communicate: Discoveries from a Secret World)
And then there was that key point in On the Origin of Species. That crucial point that somehow both David and before him Francis Galton had missed. What does Darwin say is the best way of building a strong species, of allowing it to endure into the future, to withstand the blows of Chaos in all her mighty forms—flood, drought, rising sea levels, fluctuating temperatures, invasions of competitors, predators, pests? Variation. Variation in genes, and hence in behavior and physical traits. Homogeneity is a death sentence. To rid a species of its mutants and outliers is to make that species dangerously vulnerable to the elements.
Lulu Miller (Why Fish Don’t Exist: A Story of Loss, Love, and the Hidden Order of Life)
The Spanish Influenza did not originate in Spain. In fact the first recorded case was in the United States, in Kansas, on March 9th, 1918. Beware the Ides of March. But because Spain was neutral in World War I, it did not sensor reports of the disease to the public. To tell the truth then, is to risk being remembered by its fiction. Countless countries laid blame to one another. What the US called the Spanish Influenza, Spain called the French Flu, or the Naples Soldier. What Germans dubbed the Russian Pest, the Russians called Chinese Flu.
Amanda Gorman (Call Us What We Carry: Poems)
Doesn't the Federal Farm bill help out all these poor farmers? No. It used to, but ever since its inception just after the Depression, the Federal Farm Bill has slowly been altered by agribusiness lobbyists. It is now largely corporate welfare ... It is this, rather than any improved efficiency or productiveness, that has allowed corporations to take over farming in the United States, leaving fewer than a third of our farms still run by families. But those family-owned farms are the ones more likely to use sustainable techniques, protect the surrounding environment, maintain green spaces, use crop rotations and management for pest and weed controls, and apply fewer chemicals. In other words, they're doing exactly what 80 percent of U.S. consumers say we would prefer to support, while our tax dollars do the opposite.
Barbara Kingsolver (Animal, Vegetable, Miracle: A Year of Food Life)
Thank you for inviting me here today " I said my voice sounding nothing like me. "I'm here to testify about things I've seen and experienced myself. I'm here because the human race has become more powerful than ever. We've gone to the moon. Our crops resist diseases and pests. We can stop and restart a human heart. And we've harvested vast amounts of energy for everything from night-lights to enormous super-jets. We've even created new kinds of people, like me. "But everything mankind" - I frowned - "personkind has accomplished has had a price. One that we're all gonna have to pay." I heard coughing and shifting in the audience. I looked down at my notes and all the little black words blurred together on the page. I just could not get through this. I put the speech down picked up the microphone and came out from behind the podium. "Look " I said. "There's a lot of official stuff I could quote and put up on the screen with PowerPoint. But what you need to know what the world needs to know is that we're really destroying the earth in a bigger and more catastrophic was than anyone has ever imagined. "I mean I've seen a lot of the world the only world we have. There are so many awesome beautiful tings in it. Waterfalls and mountains thermal pools surrounded by sand like white sugar. Field and field of wildflowers. Places where the ocean crashes up against a mountainside like it's done for hundreds of thousands of years. "I've also seen concrete cities with hardly any green. And rivers whose pretty rainbow surfaces came from an oil leak upstream. Animals are becoming extinct right now in my lifetime. Just recently I went through one of the worst hurricanes ever recorded. It was a whole lot worse because of huge worldwide climatic changes caused by... us. We the people." .... "A more perfect union While huge corporations do whatever they want to whoever they want and other people live in subway tunnels Where's the justice of that Kids right here in America go to be hungry every night while other people get four-hundred-dollar haircuts. Promote the general welfare Where's the General welfare in strip-mining toxic pesticides industrial solvents being dumped into rivers killing everything Domestic Tranquility Ever sleep in a forest that's being clear-cut You'd be hearing chain saws in your head for weeks. The blessings of liberty Yes. I'm using one of the blessings of liberty right now my freedom of speech to tell you guys who make the laws that the very ground you stand on the house you live in the children you tuck in at night are all in immediate catastrophic danger.
James Patterson (The Final Warning (Maximum Ride, #4))
Had I right, for my own benefit, to inflict this curse upon everlasting generations? I had before been moved by the sophisms of the being I had created; I had been struck senseless by his fiendish threats; but now, for the first time, the wickedness of my promise burst upon me; I shuddered to think that future ages might curse me as their pest, whose selfishness had not hesitated to buy its own peace at the price, perhaps, of the existence of the whole human race.
Mary Wollstonecraft Shelley (Frankenstein)
I have blogged previously about the dangerous and deadly effects of science denialism, from the innocent babies unnecessarily exposed to deadly diseases by other kids whose parents are anti-vaxxers, to the frequent examples of how acceptance of evolution helps us stop diseases and pests (and in the case of Baby Fae, rejection of evolution was fatal), to the long-term effects of climate denial to the future of the planet we all depend upon. But one of the strangest forms of denialism is the weird coalition of people who refuse to accept the medical fact that the HIV virus causes AIDS. What the heck? Didn’t we resolve this issue in the 1980s when the AIDS condition first became epidemic and the HIV virus was discovered and linked to AIDS? Yes, we did—but for people who want to deny scientific reality, it doesn’t matter how many studies have been done, or how strong the scientific consensus is. There are a significant number of people out there (especially among countries and communities with high rates of AIDS infections) that refuse to accept medical reality. I described all of these at greater length in my new book Reality Check: How Science Deniers Threaten our Future.
Donald R. Prothero
In the wild a plant and its pests are continually coevolving, in a dance of resistance and conquest that can have no ultimate victor. But coevolution ceases in an orchard of grafted trees, since they are genetically identical from generation to generation. The problem very simply is that the apple trees no longer reproduce sexually, as they do when they’re grown from seed, and sex is nature’s way of creating fresh genetic combinations. At the same time the viruses, bacteria, fungi, and insects keep very much at it, reproducing sexually and continuing to evolve until eventually they hit on the precise genetic combination that allows them to overcome whatever resistance the apples may have once possessed. Suddenly total victory is in the pests’ sight—unless, that is, people come to the tree’s rescue, wielding the tools of modern chemistry.
Michael Pollan (The Botany of Desire: A Plant's-Eye View of the World)
On the other hand, those who are willing to wait for an extra season other two for full results (against an Japanese beetle) will turn to milky disease; they will be rewarded with lasting control that become more, rather than less effective with the passage of time.
Rachel Carson (Silent Spring)
All the accomplished gardeners I know are surprisingly comfortable with failure. They may not be happy about it, but instead of reacting with anger or frustration, they seem freshly intrigued by the peony that, after years of being taken for granted, suddenly fails to bloom. They understand that, in the garden at least, failure speaks louder than success. By that I don’t mean that the gardener encounters more failure than success (though in some years he will), only that his failures have more to say to him—about his soil, the weather, the predilections of local pests, the character of his land. The gardener learns nothing when his carrots thrive, unless that success is won against a background of prior disappointment. Outright success is dumb, disaster frequently eloquent. At least to the gardener who knows how to listen.
Michael Pollan (Second Nature: A Gardener's Education)
În acea dimineață în care urma să ne întoarcem în sat, mama se îngropase pe jumătate în scoici și m-a chemat să îi îngrop și a doua jumătate, căci ea nu putea singură. I‑am spus că o să răcească: pentru că pe mare se stîrnise vîntul, nisipul era ud, ea avea cancer și valurile veneau mari. Mama însă a insistat. Am tot îngropat-o răsturnînd peste ea pumni de scoici mărunte, pînă cînd în locul ei a apărut o ridicătură sidefată, ca un val împietrit care vorbea și speria pescărușii. Valul cu miez de mamă era nespus de frumos și emana o lumină multicoloră, ca un curcubeu pe moarte. "Curcubeul muribund" a fost al treilea tablou, pe care nu-l voi vinde nicicând, pentru că era preferatul Moirei și despre care ea a spus odată că îl vom agăța în dormitor, ca să îl vedem în fiecare dimineață și seară, iar mama să vadă că noi îl vedem și să se bucure. Acum este la ea. Am lăsat-o să zacă acolo acoperită de scoici, ca într-o fașă, până când valurile ajunseseră prea aproape și i-am spus că ar fi bine să plecăm, dar nici atunci nu m-a ascultat. Mi-a răspuns că ar prefera să moară exact în acea secundă, pentru că nu ar fi existat moarte mai frumoasă, mai ales după a viață atât de nefrumoasă ca a ei.
Tatiana Țîbuleac (Vara în care mama a avut ochii verzi)
The light was crude. It made Artaud's eyes shrink into darkness, as they are deep-set. This brought into relief the intensity of his gestures. He looked tormented. His hair, rather long, fell at times over his forehead. He has the actor's nimbleness and quickness of gestures. His face is lean, as if ravaged by fevers. His eyes do not seem to see the people. They are the eyes of a visionary. His hands are long, long-fingered. Beside him Allendy looks earthy, heavy, gray. He sits at the desk, massive, brooding. Artaud steps out on the platform, and begins to talk about " The Theatre and the Plague." He asked me to sit in the front row. It seems to me that all he is asking for is intensity, a more heightened form of feeling and living. Is he trying to remind us that it was during the Plague that so many marvelous works of art and theater came to be, because, whipped by the fear of death, man seeks immortality, or to escape, or to surpass himself? But then, imperceptibly almost, he let go of the thread we were following and began to act out dying by plague. No one quite knew when it began. To illustrate his conference, he was acting out an agony. "La Peste" in French is so much more terrible than "The Plague" in English. But no word could describe what Artaud acted out on the platform of the Sorbonne. He forgot about his conference, the theatre, his ideas, Dr. Allendy sitting there, the public, the young students, his wife, professors, and directors. His face was contorted with anguish, one could see the perspiration dampening his hair. His eyes dilated, his muscles became cramped, his fingers struggled to retain their flexibility. He made one feel the parched and burning throat, the pains, the fever, the fire in the guts. He was in agony. He was screaming. He was delirious. He was enacting his own death, his own crucifixion. At first people gasped. And then they began to laugh. Everyone was laughing! They hissed. Then, one by one, they began to leave, noisily, talking, protesting. They banged the door as they left. The only ones who did not move were Allendy, his wife, the Lalous, Marguerite. More protestations. More jeering. But Artaud went on, until the last gasp. And stayed on the floor. Then when the hall had emptied of all but his small group of friends, he walked straight up to me and kissed my hand. He asked me to go to the cafe with him.
Anaïs Nin
Mr. Edwards admired the well-built, pleasant house and heartily enjoyed the good dinner. But he said he was going on West with the train when it pulled out. Pa could not persuade him to stay longer. "I'm aiming to go far West in the spring," he said. "This here, country, it's too settled up for me. The politicians are a-swarming in already, and ma'am if'n there's any worse pest than grasshoppers it surely is politicians. Why, they'll tax the lining out'n a man's pockets to keep up these here county-seat towns..." "Feller come along and taxed me last summer. Told me I got to put in every last thing I had. So I put in Tom and Jerry, my horses, at fifty dollars apiece, and my oxen yoke, Buck and Bright, I put in at fifty, and my cow at thirty five. 'Is that all you got?' he says. Well I told him I'd put in five children I reckoned was worth a dollar apiece. 'Is that all?' he says. 'How about your wife?' he says. 'By Mighty!' I says to him. 'She says I don't own her and I don't aim to pay no taxes on her,' I says. And I didn't.
Laura Ingalls Wilder (The Long Winter (Little House, #6))
As soon as Santangelo and Raffy’s heads go under, Griggs leans over and kisses me. It’s a hungry kind of kiss, like he’s been dying to do it for ages and he can’t get enough but after a while I open my eyes and just stare at him. “You’re supposed to close your eyes,” he says, a little unnerved. “I’m not supposed to do anything,” I say, moving away from him and looking into the river, waiting for Raffy and Santangelo to come back up. “Is there a problem here?” “There’s nothing here.” “Really? Because that wasn’t the message you were giving me last Saturday night.” “And between last Saturday and today there have been at least six days, so let’s just say that I’m going by the message that you’ve been giving me since then.” “We’ve been surrounded by the Santangelo circus and that little pest who is either attached to you surgically or me and then, when they’re not around, Casanova Cassidy is hanging off every word you say or Raffy is giving me one of those ‘girl zone only’ looks,” he says. “So if I haven’t been giving you the attention—” “So you’re admitting it. That you can just switch this on and off?” “Yeah, whatever you say. I’m over it.” “Good, because I was never into it!
Melina Marchetta (On the Jellicoe Road)
E greu să stai în altă parte, ok? Nu contează de unde vii sau unde te duci. Niciodată să nu ai așteptări extraordinare, niciodată să nu-ți imaginezi totul în detaliu. Imaginația e un lucru foarte înșelător. Nicăieri nu e un rai pe pământ. Dar cu siguranță există un loc în care te simți ca acasă. Peste tot e greu să te acomodezi. Chiar dacă știi deja limba, există multe alte lucruri. Magazinele de la colțul străzii, vecinii, obiceiurile. Orice comunitate e diferită. Trebuie să te adaptezi, iar dacă într-adevăr aparții acelui loc chiar reușești și îți e la-ndemână. Dar tot trebuie să ai anumite elemente care te fac să te simți în siguranță într-un loc străin, în care îți vei petrece o perioadă mai lungă de timp. Nu e ca și cum mergi la un hotel și stai câteva zile. Acolo nu trebuie să te acomodezi cu nimic.
Cristina Boncea (Becks merge la școală (Octopussy #2))
There was a girl, and her uncle sold her, wrote Mr. Ibis in his perfect copperplate handwriting. That is the tale; the rest is detail. There are stories that are true, in which each individual’s tale is unique and tragic, and the worst of the tragedy is that we have heard it before, and we cannot allow ourselves to feel it too deeply. We build a shell around it like an oyster dealing with a painful particle of grit, coating it with smooth pearl layers in order to cope. This is how we walk and talk and function, day in, day out, immune to others’ pain and loss. If it were to touch us it would cripple us or make saints of us; but, for the most part, it does not touch us. We cannot allow it to. Tonight, as you eat, reflect if you can: there are children starving in the world, starving in numbers larger than the mind can easily hold, up in the big numbers where an error of a million here, a million there, can be forgiven. It may be uncomfortable for you to reflect upon this or it may not, but still, you will eat. There are accounts which, if we open our hearts to them, will cut us too deeply. Look—here is a good man, good by his own lights and the lights of his friends: he is faithful and true to his wife, he adores and lavishes attention on his little children, he cares about his country, he does his job punctiliously, as best he can. So, efficiently and good-naturedly, he exterminates Jews: he appreciates the music that plays in the background to pacify them; he advises the Jews not to forget their identification numbers as they go into the showers—many people, he tells them, forget their numbers, and take the wrong clothes, when they come out of the showers. This calms the Jews: there will be life, they assure themselves, after the showers. And they are wrong. Our man supervises the detail taking the bodies to the ovens; and if there is anything he feels bad about, it is that he still allows the gassing of vermin to affect him. Were he a truly good man, he knows, he would feel nothing but joy, as the earth is cleansed of its pests. Leave him; he cuts too deep. He is too close to us and it hurts.
Neil Gaiman (American Gods (American Gods, #1))
Filozofia este expresia neliniştii oamenilor impersonali. De aceea ea oferă atât de puţin pentru înţelegerea trăirilor totale, dramatice şi ultime. Pentru cei care, fără să vrea, au depăşit viaţa, filozofia e prea puţin. Niciun gând n-a suprimat o durere şi nicio idee n-a alungat frica de moarte. De aceea, lasă gandurile şi începe teroarea împotriva ta, cu furie şi cu o exaltare disperată. Căci ideile n-au salvat şi nici n-au prăbuşit pe nimeni. Din centrul fiinţei tale, din zona din care eşti iresponsabil, fiindcă e prea adâncă, izbucneşte într-o explozie feroce, scoate atâta energie din intunericul tău încât să nu mai rămână decât lumină. Şi în demonia aceasta, să se nască în tine mândria de-a nu mai avea idei, ci numai clocot, obsesii şi nebunie. Să fii atât de frenetic, încât vorbele tale să ardă, şi expresiile tale să fie atât de limpezi, încât să semene transparenţei arzătoare a lacrimilor. Aruncă peste neliniştea ta teroarea ta şi fă ca în acest fel totul să tremure într-un apocalips intern, zguduitor şi dramatic. Aducându-ţi întreg organismul la un nivel atât de ridicat şi la o vibraţie atât de mare, ritmul intens şi accelerat înghite durerea în încordările lui, o topeşte şi o integrează în evoluţiile lui, astfel că o mare nebunie ne scapă temporar de o mare durere.
Emil M. Cioran (Cartea amăgirilor)
Nu ma plictisesc si nu ma nelinistesc in singuratate. Din cauza temperamentului mi-am croit fatal o astfel de viata. Si-apoi n-am fost niciodata prea sanatos. Societatea cere mereu oameni robusti, care sa se straduiasca cu spor pentru ea, sa-I duca mai departe rostul. Melancolia firii mele nu ar fi niciodata inteleasa. Unii din prietenii mei imi spun ca sunt inadaptabil, ca fug de oameni. Este o exagerare. Iubesc oamenii si ii privesc cu interes prin geamul din fata casei mele. Cred ca fiecare duce ceva bun cu sine, si, daca nu sunt toti la fel, de vina sunt imprejurarile care difera de la individ la individ. Evit oamenii pentru ca persoana mea ar adduce un fel de umbrire peste veselia lor spontana. Ii respect prea mult ca sa le aduc vreo suparare. Aici, in provincie, viata se scurge monoton. E destul ca sa traiesti o zi, sa-ti inchipui cum se vor desfasura toate celelalte pana la sfarsitul vietii tale. Asta intr-adevar nu este un lucru prea vessel. Dar ce vrei? Daca as avea bani multi, as chema toti poetii lumii in jurul meu si am schimba astfel rostul vietii. Pe cand asa, ma multumesc cu tacerea.” 
George Bacovia
Every profession in India is regulated. Engineers must show proficiency, Doctor must show proficiency, Lawyers must show proficiency, before they are allowed to practise their professions. During the whole of their career, they must not only obey the law of the land, civil as well as criminal, but they must also obey the special code of morals prescribed by their respective professions. The priest's is the only profession where proficiency is not required. The profession of a Hindu priest is the only profession which is not subject to any code....All this becomes possible among the Hindus because for a priest it is enough to be born in a priestly caste. The whole thing is abominable and is due to the fact that the priestly class among Hindus is subject neither to law nor to morality. It recognizes no duties. It knows only of rights and privileges. It is a pest which divinity seems to have let loose on the masses for their mental and moral degradation.
B.R. Ambedkar (Annihilation of Caste)
Baghra,” Nikolai said, “how are you this evening?” “Still old and blind,” she snarled. “And charming,” Nikolai drawled. “Never forget charming.” “Whelp.” “Hag.” “What do you want, pest?” “I’ve brought someone to visit,” Nikolai said, giving me a push. Why was I so nervous? “Hello, Baghra,” I managed. She paused, motionless. “The little Saint,” she murmured, “returned to save us all.” “Well, she did almost die trying to rid us of your cursed spawn,” Nikolai said lightly. I blinked. So Nikolai knew Baghra was the Darkling’s mother. “Couldn’t even manage martyrdom right, could you?” Baghra waved me in. “Come in and shut the door, girl. You’re letting the heat out.” I grinned at this familiar refrain. “And you,” she spat in Nikolai’s direction. “Go somewhere you’re wanted.” “That’s hardly limiting,” he said. “Alina, I’ll be back to fetch you for dinner, but should you grow restless, do feel free to run screaming from the room or take a dagger to her. Whatever seems most fitting at the time.” “Are you still here?” snapped Baghra. “I go but hope to remain in your heart,” he said solemnly. Then he winked and disappeared. “Wretched boy.” “You like him,” I said in disbelief. Baghra scowled. “Greedy. Arrogant. Takes too many risks.” “You almost sound concerned.” “You like him too, little Saint,” she said with a leer in her voice. “I do,” I admitted. “He’s been kind when he might have been cruel. It’s refreshing.” “He laughs too much.” “There are worse traits.
Leigh Bardugo (Ruin and Rising (The Shadow and Bone Trilogy, #3))
Am început să-i dezgolesc, încet și fin, un umăr, sărutându-l afectuos. Îmbătat cu parfumul ei dulce de vanilie, am coborât cu gura peste brațul acoperit de mâneca largă a rochiei; i-am suflecat-o și... tresăltă. Se simțea stânjenită și nu înțelegeam de ce, pentru că o vedeam perfectă. Am aprins niște lumânări și am închis lumina, pentru a-i oferi un confort. Am dezgolit-o domol. Îmi plăcea s-o ating tandru, cu buricul degetelor, să simtă că e cea mai prețioasă ființă de pe pământ. Totuși, când ochii mei s-au obișnuit cu lumina discretă a lumânărilor, am observat tăieturi pe brațele sale. Erau atât de multe, încât acopereau fiecare centimetru de piele. Aici nu era vorba despre un accident, ci despre o muncă realizată cu atenție și cu premeditare. M-a cuprins un profund sentiment de compasiune, ce mi-a inhibat dorința sexuală. Am întrebat-o cine îi făcuse asta și tăcu. Ridică din umeri, fără să-i coboare - poate în semn de alint amestecat cu teamă – apoi mi-a mângâiat obrazul. Continua să mă seducă, am închis ochii și, dezmierdându-i brațele, simțeam crestăturile cicatrizate, paradoxal, ca pe niște canini ieșiți de sub piele, gata-gata să muște din gingășia gesturilor mele. Ca un orb, urmăream cu degetele fine harta durerii, marcată pe pielea sa. Drumul spre sufletul ei era anevoios.
Carmen Stoian (Misterul Ivorei)
Walk openly, Marian used to say. Love even the threat and the pain, feel yourself fully alive, cast a bold shadow, accept, accept. What we call evil is only a groping towards good, part of the trial and error by which we move toward the perfected consciousness… God is kind? Life is good? Nature never did betray the heart that loved her? Why the reward she received for living intensely and generously and trying to die with dignity? Why the horror at the bridge her last clear sight of earth?...I do not accept, I am not reconciled. But one thing she did. She taught me the stupidity of the attempt to withdraw and be free of trouble and harm... She said, “You wondered what was in whale’s milk. Now you know. Think of the force down there, just telling things to get born, just to be!” I had had no answer for her then. Now I might have one. Yes, think of it, I might say. And think how random and indiscriminate it is, think how helplessly we must submit, think how impossible it is to control or direct it. Think how often beauty and delicacy and grace are choked out by weeds. Think how endless and dubious is the progress from weed to flower. Even alive, she never convinced me with her advocacy of biological perfectionism. She never persuaded me to ignore, or look upon as merely hard pleasures, the evil that I felt in every blight and smut and pest in my garden- that I felt, for that matter, squatting like a toad on my own heart. Think of the force of life, yes, but think of the component of darkness in it. One of the things that’s in whale’s milk is the promise of pain and death. And so? Admitting what is so obvious, what then? Would I wipe Marion Catlin out of my unperfected consciousness if I could? Would I forgo the pleasure of her company to escape the bleakness of her loss? Would I go back to my own formula, which was twilight sleep, to evade the pain she brought with her? Not for a moment. And so even in the gnashing of my teeth, I acknowledge my conversion. It turns out to be for me as I once told her it would be for her daughter. I shall be richer all my life for this sorrow.
Wallace Stegner (All the Little Live Things)
Măsurăm valoarea individului după suma dezacordurilor sale cu lucrurile, după neputinţa de a fi indiferent, după refuzul de a deveni obiect. De aici declasarea ideii de Bine, de aici voga Diavolului. Cît timp am trăit în iadul unor angoase elegante, ne împăcăm de minune cu Dumnezeu. Cînd alte spaime, mai sordide, s-au abătut peste noi, ne-a trebuit un alt sistem de referinţă, un alt patron. Diavolul era personajul visat. Totul în el se potriveşte cu natura evenimentelor, pe care le generează şi guvernează: atributele lui coincid cu ale timpului. Să ni-l facem icoană, aşadar, de vreme ce, departe de a fi un produs al subiectivităţii noastre, o creaţie a nevoii de blasfemie ori de singurătate, el este demonul îndoielilor şi spaimelor noastre, instigatorul rătăcirilor omeneşti. Protestele, furiile sale nu-s totuşi lipsite de echivoc: acest „mare Nefericit" e un rebel care se îndoieşte. Dacă firea i-ar fi simplă, dintr-o bucată, nu ne-ar înduioşa defel; dar paradoxurile, contradicţiile lui sînt ale noastre: el strînge laolaltă neputinţele omului, serveşte de model revoltelor şi urii cu care ne înfruntăm noi pe noi înşine. Definiţia infernului? S-o căutăm în forma aceasta de revoltă şi ură, în supliciul orgoliului rănit, în senzaţia de a fi o înfricoşătoare cantitate neglijabilă, în chinurile „eului", ale acestui „eu" cu care începe sfîrşitul nostru.
Emil M. Cioran (The Temptation to Exist)
Supliciul disperării constă tocmai în faptul că nu poţi muri. De aceea, ea se apropie mai mult de starea de agonie, când zaci, te chinuieşti de moarte şi nu poţi muri. Astfel, a fi bolnav de moarte înseamnă a nu putea muri, totuşi nu ca şi când ar persista speranţa de a supravieţui, nu, ci absenţa speranţei constă în faptul că nu mai există nici măcar ultima speranţă, moartea. Atunci când pericolul suprem este moartea, ea speră în viaţă; cine a cunoscut însă pericolul şi mai îngrozitor, speră în moarte. Dacă, aşadar, pericolul este atât de mare încât se pun speranţele în moarte, disperarea constă în absenţa speranţei de a putea măcar muri. Disperarea este aşadar boala de moarte, această contradicţie chinuitoare, această boală aflată în sine, de a muri veşnic, de a muri fără totuşi să mori şi de a muri moartea. Căci a muri înseamnă că totul se încheie, dar a muri moartea arăta că trăieşti faptul de a muri; şi dacă îl trăieşti o singură clipă, înseamnă că îl trăieşti pe veci. Dacă omul ar muri de disperare aşa cum se moare de o boală, atunci ar trebui că eternul din el, sinele, să poată muri în acelaşi sens în care trupul moare dintr-o boală. Or acest lucru este imposibil; faptul de a muri al disperării se converteşte permanent în viaţă. Disperatul nu poate muri: «pe cât de puţin poate un pumnal să ucidă gânduri», pe atât de puţin poate mistui disperarea veşnicia, sinele aflat la baza disperării, al căror vierme nu piere şi al căror foc nu se stinge. Totuşi disperarea înseamnă tocmai să te macini în interior, dar este o măcinare neputincioasă a unui sine care nu este în stare de ceea ce vrea. Disperarea vrea însă să se nimicească, ceea ce îi este peste puteri, iar această slăbiciune este o nouă formă de a se roade pe dinăuntru, în care totuşi disperarea din nou nu poate ce vrea, să se autodistrugă, ci avem de-a face cu o potenţare sau cu legea ridicării la putere. Această măcinare este ceea ce aţâţă sau e incendiul glacial din disperare, o măcinare întoarsă mereu spre interior şi care roade tot mai adânc şi tot mai neputincios din sine. Pentru cel ce disperă nu este o consolare nici măcar faptul că disperarea pe el nu-l distruge; dimpotrivă, tocmai această consolare este supliciul care ţine în viaţă disperarea mistuitoare şi viaţa în durere mistuitoare. Căci tocmai de aceea el nu a disperat, ci disperă: pentru că nu se poate distruge, nu se poate lepăda de sine, nu se poate nimici. Aceasta este formula potenţată a disperării, urcarea febrei în această boală a sinelui.
Søren Kierkegaard (Boala de moarte)
Uneori, câte o musculiţă nimerea în calea şuvoiului de apă, uneori reuşea să fugă şi îşi lua zborul, un zbor puțin derutat, amețit, greu și cleios, alteori se îneca. Îmi părea rău de cele care se înecau, dar nu aveam cum să le ajut, eram de partea cealaltă a geamului. De multe ori aveam să mai fiu de partea cealaltă a geamului, izolat, inutil, prins în capcană de un monstru urât care se bucură că nu pot fi decât un banal spectator. Mă uitam la oamenii care mergeau grăbiţi, impasibili, cu multe sacoşe, unii cu copii de mână de-abia luaţi de la şcoală, inevitabil precipitaţi, cu aerul că ştiu foarte bine încotro se îndreaptă, oameni cu responsabilităţi, griji şi vieţi cu un sens solid, bine stabilit. M-a fulgerat, pentru prima dată sub forma asta atât de explicită, venit de nicăieri, poate din picături de ploaie, muște și macazul ce trebuia schimbat la câteva stații, gândul că eu într-o zi nu voi mai fi absolut deloc. Că nu voi mai putea privi ca acum ce se întâmplă în jurul meu, că nu voi mai gândi, voi fi nimic, va fi ca într-un somn definitiv, dar atât de diferit de un somn obişnuit, pentru că nu voi visa nimic, nu voi mai avea amintiri. Şi nu mă voi mai trezi. EU nu am să mai exist, şi nici nu am să mă transform în altceva, nici nu voi pleca într-un loc mai frumos sau mai urât, ci am să dispar pentru totdeauna fără să las în urmă niciun semn, nicio bucată din mine. Nu-mi voi mai putea privi ghetele, corpul, mâinile, unghiile. Se va termina totul, complet, definitiv şi, faţă de oroarea de a şti acest fapt, nu mai conta amănuntul că asta se va întâmpla mâine, peste trei săptămâni sau peste 65 de ani. Într-o zi, ea, asta, va fi realitatea, asta va fi tot, totul. Voi fi nimic, în locul meu va fi un gol și va rămâne așa pentru totdeauna.
Cristina Nemerovschi (Sânge Satanic (Sânge Satanic, #1))
When scientists underestimate complexity, they fall prey to the perils of unintended consequences. The parables of such scientific overreach are well-known: foreign animals, introduced to control pests, become pests in their own right; the raising of smokestacks, meant to alleviate urban pollution, releases particulate effluents higher in the air and exacerbates pollution; stimulating blood formation, meant to prevent heart attacks, thickens the blood and results in an increased risk of blood clots in the heart. But when nonscientists overestimate [italicized, sic] complexity- 'No one can possibly crack this [italicized, sic] code" - they fall into the trap of unanticipated consequences. In the early 1950s , a common trope among some biologists was that the genetic code would be so context dependent- so utterly determined by a particular cell in a particular organism and so horribly convoluted- that deciphering it would be impossible. The truth turned out to be quite the opposite: just one molecule carries the code, and just one code pervades the biological world. If we know the code, we can intentionally alter it in organisms, and ultimately in humans. Similarly, in the 1960s, many doubted that gene-cloning technologies could so easily shuttle genes between species. by 1980, making a mammalian protein in a bacterial cell, or a bacterial protein in a mammalian cell, was not just feasible, it was in Berg's words, rather "ridiculously simple." Species were specious. "Being natural" was often "just a pose.
Siddhartha Mukherjee (The Gene: An Intimate History)
JUST FOR TODAY Just for today I will be happy. This assumes that what Abraham Lincoln said is true, that ‘most folks are about as happy as they make up their minds to be.’ Happiness is from within; it is not a matter of externals. Just for today I will try to adjust myself to what is, and not try to adjust everything to my own desires. I will take my family, my business, and my luck as they come and fit myself to them. Just for today I will take care of my body. I will exercise it, care for it, nourish it, not abuse it nor neglect it, so that it will be a perfect machine for my bidding. Just for today I will try to strengthen my mind. I will learn something useful. I will not be a mental loafer. I will read something that requires effort, thought and concentration. Just for today I will exercise my soul in three ways; I will do somebody a good turn and not get found out. I will do at least two things I don’t want to do, as William James suggests, just for exercise. Just for today I will be agreeable. I will look as well as I can, dress as becomingly as possible, talk low, act courteously, be liberal with praise, criticise not at all, nor find fault with anything and not try to regulate nor improve anyone. Just for today I will try to live through this day only, not to tackle my whole life problem at once. I can do things for twelve hours that would appall me if I had to keep them up for a lifetime. Just for today I will have a program. I will write down what I expect to do every hour. I may not follow it exactly, but I will have it. It will eliminate two pests, hurrying and indecision. Just for today I will have a quiet half-hour all by myself and relax. In this half-hour sometimes I will think of God, so as to get a little more perspective into my life. Just for today I will be unafraid, especially I will not be afraid to be happy, to enjoy what is beautiful, to love, and to believe that those I love, love me. If we want to develop a mental attitude that will bring us peace and happiness, here is Rule 1: Think and act cheerfully, and you will feel cheerful.
Dale Carnegie (How to Stop Worrying and Start Living)
Daca ma gandesc bine, reprosul esential pe care il am de facut tarii si vremurilor este ca ma impiedica sa ma bucur de frumusetea vietii. Din cand in cand, imi dau seama ca traiesc intr-o lume fara cer, fara copaci si gradini, fara extaze bucolice, fara ape, pajisti si nori. Am uitat misterul adanc al noptii, radicalitatea amiezii, racorile cosmice ale amurgului. Nu mai vad pasarile, nu mai adulmec mirosul prafos si umed al furtunii, nu mai percep, asfixiat de emotie, miracolul ploii si al stelelor. Nu mai privesc in sus, nu mai am organ pentru parfumuri si adieri. Fosnetul frunzelor uscate, transluciditatea nocturna a lacurilor, sunetul indescifrabil al serii, iarba, padurea, vitele, orizontul tulbure al campiei, colina cordiala si muntele ascetic nu mai fac de mult parte din peisajul meu cotidian, din echilibrul igienic al vietii mele launtrice. Nu mai am timp pentru prietenie, pentru taclaua voioasa, pentru cheful asezat. Sunt ocupat. Sunt grabit. Sunt iritat, hartuit, coplesit de lehamite. Am o existenta de ghiseu: mi se cer servicii, mi se fac comenzi, mi se solicita interventii, sfaturi si complicitati. Am devenit mizantrop. Doua treimi din metabolismul meu mental se epuizeaza in nervi de conjunctura, agenda mea zilnica e un inventar de urgente minore. Gandesc pe sponci, stimulat de provocari meschine. Imi incep ziua apoplectic, injurand "situatiunea": gropile din drum, moravurile soferilor autohtoni, caldura (sau frigul), praful (sau noroiul), morala politicienilor, gramatica gazetarilor, modele ideologice, cacofoniile noii arhitecturi, demagogia, coruptia, bezmeticia tranzitiei. Abia daca mai inregistrez desenul ametitor al cate unei siluete feminine, inocenta vreunui suras, farmecul tacut al cate unui colt de strada. Colectionez antipatii si prilejuri de insatisfactie. Scriu despre mizerii si maruntisuri. Bomban toata ziua, mi-am pierdut increderea in virtutile natiei, in soarta tarii, in rostul lumii. Am un portret tot mai greu digerabil. Patriotii de parada m-au trecut la tradatori, neoliberalii la conservatori, postmodernistii la elitisti. Batranilor le apar frivol, tinerilor reactionar. Una peste alta, mi-am pierdut buna dispozitie, elanul, jubilatia. Nu mai am ragazuri fertile, reverii, autenticitati. Ma misc, de dimineata pana seara, intr-un univers artificial, agitat, infectat de trivialitate. Apetitul vital a devenit anemic, placerea de a fi si-a pierdut amplitudinea si suculenta. Respir crispat si pripit, ca intr-o etuva. Cand cineva trece printr-o asemenea criza de vina e, in primul rand, umoarea proprie. Te poti acuza ca ai consimtit in prea mare masura imediatului, ca nu stii sa-ti dozezi timpul si afectele, ca nu mai deosebesti intre esential si accesoriu, ca, in sfarsit, ai scos din calculul zilnic valorile zenitale. Dar nu se poate trece cu vederea nici ambianta toxica a momentului si a veacului. Suntem napaditi de probleme secunde. Avem preocupari de mana a doua, avem conducatori de mana a doua, traim sub presiunea multipla a necesitatii. Ni se ofera texte mediocre, show-uri de prost-gust, conditii de viata umilitoare. Am ajuns sa nu mai avem simturi, idei, imaginatie. Ne-am uratit, ne-am instrainat cu totul de simplitatea polifonica a lumii, de pasiunea vietii depline. Nu! mai avem puterea de a admira si de a lauda, cu o genuina evlavie, splendoarea Creatiei, vazduhul, marile, pamantul si oamenii. Suntem turmentati si sumbri. Abia daca ne mai putem suporta. Exista, pentru acest derapaj primejdios, o terapie plauzibila? Da, cu conditia sa ne dam seama de gravitatea primejdiei. Cu conditia sa impunem atentiei noastre zilnice alte prioritati si alte orizonturi.
Andrei Pleșu (Despre frumusețea uitată a vieții)
The first glance at the pillow showed me a repulsive sentinel perched upon each end of it--cockroaches as large as peach leaves--fellows with long, quivering antennae and fiery, malignant eyes. They were grating their teeth like tobacco worms, and appeared to be dissatisfied about something. I had often heard that these reptiles were in the habit of eating off sleeping sailors' toe nails down to the quick, and I would not get in the bunk any more. I lay down on the floor. But a rat came and bothered me, and shortly afterward a procession of cockroaches arrived and camped in my hair. In a few moments the rooster was crowing with uncommon spirit and a party of fleas were throwing double somersaults about my person in the wildest disorder, and taking a bite every time they stuck. I was beginning to feel really annoyed. I got up and put my clothes on and went on deck. The above is not overdrawn; it is a truthful sketch of inter-island schooner life.
Mark Twain (Roughing It)
But you know, the longer you listen to this abortion debate, the more you hear this phrase “sanctity of life”. You’ve heard that. Sanctity of life. You believe in it? Personally, I think it’s a bunch of shit. Well, I mean, life is sacred? Who said so? God? Hey, if you read history, you realize that God is one of the leading causes of death. Has been for thousands of years. Hindus, Muslims, Jews, Christians all taking turns killing each other ‘cause God told them it was a good idea. The sword of God, the blood of the land, vengeance is mine. Millions of dead motherfuckers. Millions of dead motherfuckers all because they gave the wrong answer to the God question. “You believe in God?” “No.” Boom. Dead. “You believe in God?” “Yes.” “You believe in my God? “No.” Boom. Dead. “My God has a bigger dick than your God!” Thousands of years. Thousands of years, and all the best wars, too. The bloodiest, most brutal wars fought, all based on religious hatred. Which is fine with me. Hey, any time a bunch of holy people want to kill each other I’m a happy guy. But don’t be giving me all this shit about the sanctity of life. I mean, even if there were such a thing, I don’t think it’s something you can blame on God. No, you know where the sanctity of life came from? We made it up. You know why? ‘Cause we’re alive. Self-interest. Living people have a strong interest in promoting the idea that somehow life is sacred. You don’t see Abbott and Costello running around, talking about this shit, do you? We’re not hearing a whole lot from Mussolini on the subject. What’s the latest from JFK? Not a goddamn thing. ‘Cause JFK, Mussolini and Abbott and Costello are fucking dead. They’re fucking dead. And dead people give less than a shit about the sanctity of life. Only living people care about it so the whole thing grows out of a completely biased point of view. It’s a self serving, man-made bullshit story. It’s one of these things we tell ourselves so we’ll feel noble. Life is sacred. Makes you feel noble. Well let me ask you this: if everything that ever lived is dead, and everything alive is gonna die, where does the sacred part come in? I’m having trouble with that. ‘Cuz, I mean, even with all this stuff we preach about the sanctity of life, we don’t practice it. We don’t practice it. Look at what we’d kill: Mosquitoes and flies. ‘Cause they’re pests. Lions and tigers. ‘Cause it’s fun! Chickens and pigs. ‘Cause we’re hungry. Pheasants and quails. ‘Cause it’s fun. And we’re hungry. And people. We kill people… ‘Cause they’re pests. And it’s fun! And you might have noticed something else. The sanctity of life doesn’t seem to apply to cancer cells, does it? You rarely see a bumper sticker that says “Save the tumors.”. Or “I brake for advanced melanoma.”. No, viruses, mold, mildew, maggots, fungus, weeds, E. Coli bacteria, the crabs. Nothing sacred about those things. So at best the sanctity of life is kind of a selective thing. We get to choose which forms of life we feel are sacred, and we get to kill the rest. Pretty neat deal, huh? You know how we got it? We made the whole fucking thing up! Made it up!
George Carlin (More Napalm and Silly Putty)
Trees stand at the heart of ecology, and they must come to stand at the heart of human politics. Tagore said, Trees are the earth’s endless effort to speak to the listening heaven. But people—oh, my word—people! People could be the heaven that the Earth is trying to speak to. “If we could see green, we’d see a thing that keeps getting more interesting the closer we get. If we could see what green was doing, we’d never be lonely or bored. If we could understand green, we’d learn how to grow all the food we need in layers three deep, on a third of the ground we need right now, with plants that protected one another from pests and stress. If we knew what green wanted, we wouldn’t have to choose between the Earth’s interests and ours. They’d be the same!” One more click takes her to the next slide, a giant fluted trunk covered in red bark that ripples like muscle. “To see green is to grasp the Earth’s intentions. So consider this one. This tree grows from Colombia to Costa Rica. As a sapling, it looks like a piece of braided hemp. But if it finds a hole in the canopy, the sapling shoots up into a giant stem with flaring buttresses.” She turns to regard the image over her shoulder. It’s the bell of an enormous angel’s trumpet, plunged into the Earth. So many miracles, so much awful beauty. How can she leave so perfect a place? “Did you know that every broadleaf tree on Earth has flowers? Many mature species flower at least once a year. But this tree, Tachigali versicolor, this one flowers only once. Now, suppose you could have sex only once in your entire life. . . .” The room laughs now. She can’t hear, but she can smell their nerves. Her switchback trail through the woods is twisting again. They can’t tell where their guide is going. “How can a creature survive, by putting everything into a one-night stand? Tachigali versicolor’s act is so quick and decisive that it boggles me. You see, within a year of its only flowering, it dies.” She lifts her eyes. The room fills with wary smiles for the weirdness of this thing, nature. But her listeners can’t yet tie her rambling keynote to anything resembling home repair. “It turns out that a tree can give away more than its food and medicines. The rain forest canopy is thick, and wind-borne seeds never land very far from their parent. Tachigali’s once-in-a-lifetime offspring germinate right away, in the shadow of giants who have the sun locked up. They’re doomed, unless an old tree falls. The dying mother opens a hole in the canopy, and its rotting trunk enriches the soil for new seedlings. Call it the ultimate parental sacrifice. The common name for Tachigali versicolor is the suicide tree.
Richard Powers (The Overstory)
Cea mai minunată femeie din lume este cea care te iubeşte cu adevărat şi pe care-o iubeşti cu adevărat. Nimic altceva nu contează. Odată, pe vremea liceului, umblam pe bulevard cu un prieten, doi puşti zăluzi şi frustraţi care dădeau note «gagicilor» şi vorbeau cu atât mai scabros cu cât erau, de fapt, mai inocenţi erotic. Ce fund are una, ce balcoane are alta... Femeile nu erau nimic altceva pentru noi decât nişte obiecte de lux, ca automobilele lustruite din vitrinele magazinelor «Volvo» sau «Maserati»: nu ne imaginam cu adevărat că vom avea şi noi una vreodată. Prin dreptul cinematografului Patria am zărit o tipă trăznitoare. Am rămas înlemniţi: ce pulpe în ciorapi de plasă neagră, ce fund rotund şi ce mijloc subţire, ce ţoale pe ea, ce plete de sârmă roşie, răsucită în mii de feluri... Ne-am învârtit în jurul ei ca s-o vedem şi din faţă: cum putea avea aşa pereche de ţâţe, aşa de perfecte cum numai în albumele de artă — care pe-atunci ne ţineau loc de Penthouse—mai văzuserăm? Pentru cine era o astfel de fiinţă, cum putea fi o noapte de sex cu ea? Până la urmă ne-am aşezat la coadă la bilete, fără s-o scăpăm din ochi şi fără să-ncetăm comentariile. Când, îl auzim pe unul, un tip destul de jegos care stătea şi el la coadă, mâncând seminţe, înaintea noastră: «E bună paraşuta asta, nu? V-ar place şi vouă, ciutanilor... Da' ascultaţi-mă pe mine, c-am fumat destule ca ea: cât o vedeţi de futeşă, să ştiţi că e pe undeva un bărbat sătul de ea până peste cap! Poa'să fie cea mai mişto din lume, poa'să fie şi Brijibardo, că tot i-e drag vreunuia de ea ca mie de nevastă-mea...» Am fost mult mai şocat de remarcile astea decât mi-aş fi imaginat. Cum să te plictiseşti de frumuseţea însăşi, de neatins şi de neconceput? De cea pentru care ţi-ai da şi pielea de pe tine? Ce ar putea dori un bărbat mai mult decât să-şi poată trece braţul în jurul mijlocului ei, să poată privi minute-n şir în ochii ei, să o întindă încetişor pe pat... Să o scoată din învelişul ei de dantelă mătăsoasă... De-aici încolo imaginaţia mea se bloca, nu-mi puteam închipui cum e să faci dragoste. De câte ori mă gândeam cum ar fi, vedeam doar un ocean roz care se răsuceşte asupra ta şi te sufocă... Am cunoscut apoi femei reale, femei imaginare, femei din vis, femei din cărţi, femei din reclame, femei din filme, femei din videoclipuri. Femei din revistele porno. Fiecare altfel şi fiecare cu altceva de oferit. M-am îndrăgostit de câteva şi de fiecare dată a fost la fel: primul semn că aş putea-o iubi a fost mereu că nu m-am putut gândi, văzând-o, «cât de futeşă e». Chiar dacă era. Bărbaţii au creierul impregnat de hormoni. Nici cel mai distins intelectual nu e altfel, până şi el, la orice vârstă, îşi imaginează cum ar face-o cu fata plictisită, necunoscută, de lângă el. Dar când cunoşti cea mai minunată femeie din lume, care e cea pe care o poţi iubi, semnul este, trebuie să fie, că nici pulpele, nici «balcoanele» nu se mai văd, de parcă hormonii sexului şi-ai agresivităţii s-ar retrage din creierul tău tumefiat şi l-ar lăsa inocent ca un creier de copil şi translucid ca o corniţă de melc. Facem sex cu un creier de bărbat, dar iubim cu unul de copil, încrezător, dependent, dornic de a da şi a primi afecţiune. Femeile minunate din viaţa mea, toate cele pe care le-am iubit cu adevărat şi care-au răspuns cu dragoste dragostei mele, au fost într-un fel necorporale, au fost bucurie pură, nevroză pură, experienţă pură. Senzualitatea, uneori dusă până foarte departe, nu a fost decât un ingredient într-o aventură complexă şi epuizantă a minţii. Pentru mine nu există, deci, «cea mai minunată» în sensul de 90-60-90, nici în cel de blondă, brună sau roşcată, înaltă sau minionă, vânzătoare sau poetă. Cea mai minunată este cea cu care am putut avea un copil virtual numit «cuplul nostru», «dragostea noastră».
Mircea Cărtărescu (De ce iubim femeile)