β
It is sometimes an appropriate response to reality to go insane.
β
β
Philip K. Dick (VALIS)
β
After nourishment, shelter and companionship, stories are the thing we need most in the world.
β
β
Philip Pullman
β
Reality is that which, when you stop believing in it, doesn't go away.
β
β
Philip K. Dick (I Hope I Shall Arrive Soon)
β
To say goodbye is to die a little.
β
β
Raymond Chandler (The Long Goodbye (Philip Marlowe, #6))
β
Imagination is like a muscle. I found out that the more I wrote, the bigger it got.
β
β
Philip JosΓ© Farmer
β
We donβt need a list of rights and wrongs, tables of dos and donβts: we need books, time, and silence. Thou shalt not is soon forgotten, but Once upon a time lasts forever.
β
β
Philip Pullman
β
Everybody else is working to change, persuade, tempt and control them. The best readers come to fiction to be free of all that noise.
β
β
Philip Roth
β
Some things you know all your life. They are so simple and true they must be said without elegance, meter and rhyme...they must be naked and alone, they must stand for themselves.
β
β
Philip Levine
β
You cannot change what you are, only what you do.
β
β
Philip Pullman (The Golden Compass (His Dark Materials, #1))
β
I'm not much but I'm all I have.
β
β
Philip K. Dick (Martian Time-Slip)
β
I stopped believing there was a power of good and a power of evil that were outside us. And I came to believe that good and evil are names for what people do, not for what they are.
β
β
Philip Pullman (The Amber Spyglass (His Dark Materials, #3))
β
The time to make up your mind about people, is never.
β
β
Philip Barry (The Philadelphia Story: A Comedy in Three Acts)
β
My schedule for today lists a six-hour self-accusatory depression.
β
β
Philip K. Dick (Do Androids Dream of Electric Sheep?)
β
The true measure of a man is not his intelligence or how high he rises in this freak establishment. No, the true measure of a man is this: how quickly can he respond to the needs of others and how much of himself he can give.
β
β
Philip K. Dick
β
Don't try to solve serious matters in the middle of the night.
β
β
Philip K. Dick
β
The problem with introspection is that it has no end.
β
β
Philip K. Dick
β
The basic tool for the manipulation of reality is the manipulation of words. If you can control the meaning of words, you can control the people who must use them.
β
β
Philip K. Dick
β
People are too complicated to have simple labels.
β
β
Philip Pullman (The Amber Spyglass (His Dark Materials, #3))
β
If you think this Universe is bad, you should see some of the others.
β
β
Philip K. Dick
β
Henry looks Philip square in the face and says, βIβve been gay as a maypole since the day I came out of Mum, Philip.
β
β
Casey McQuiston (Red, White & Royal Blue)
β
They fuck you up, your mum and dad.
They may not mean to, but they do.
They fill you with the faults they had
And add some extra, just for you.
But they were fucked up in their turn
By fools in old-style hats and coats,
Who half the time were soppy-stern
And half at one another's throats.
Man hands on misery to man.
It deepens like a coastal shelf.
Get out as early as you can,
And don't have any kids yourself.
β
β
Philip Larkin (High Windows)
β
All the history of human life has been a struggle between wisdom and stupidity.
β
β
Philip Pullman (The Amber Spyglass (His Dark Materials, #3))
β
There will come a time when it isn't 'They're spying on me through my phone' anymore. Eventually, it will be 'My phone is spying on me'.
β
β
Philip K. Dick
β
We should count time by heart-throbs. He most lives,
Who thinks most, feels noblest, acts the best.
β
β
Philip James Bailey (Festus: A Poem)
β
Reality denied comes back to haunt.
β
β
Philip K. Dick (Flow My Tears, the Policeman Said)
β
Everything in life is just for a while.
β
β
Philip K. Dick (A Scanner Darkly)
β
I think it's perfectly possible to explain how the universe came about without bringing God into it, but I don't know everything, and there may well be a God somewhere, hiding away. Actually, if he is keeping out of sight, it's because he's ashamed of his followers and all the cruelty and ignorance they're responsible for promoting in his name. If I were him, I'd want nothing to do with them.
β
β
Philip Pullman
β
When you are crazy you learn to keep quiet.
β
β
Philip K. Dick (VALIS)
β
The only obsession everyone wants: 'love.' People think that in falling in love they make themselves whole? The Platonic union of souls? I think otherwise. I think you're whole before you begin. And the love fractures you. You're whole, and then you're cracked open.
β
β
Philip Roth (The Dying Animal)
β
You will be required to do wrong no matter where you go. It is the basic condition of life, to be required to violate your own identity. At some time, every creature which lives must do so. It is the ultimate shadow, the defeat of creation; this is the curse at work, the curse that feeds on all life. Everywhere in the universe.
β
β
Philip K. Dick (Do Androids Dream of Electric Sheep?)
β
The pre-Socratic Greek philosopher Parmenides taught that the only things that are real are things which never change... and the pre-Socratic Greek philosopher Heraclitus taught that everything changes. If you superimpose their two views, you get this result: Nothing is real.
β
β
Philip K. Dick
β
A weird time in which we are alive. We can travel anywhere we want, even to other planets. And for what? To sit day after day, declining in morale and hope.
β
β
Philip K. Dick (The Man in the High Castle)
β
You speak of destiny as if it was fixed.
β
β
Philip Pullman (The Golden Compass (His Dark Materials, #1))
β
From 30 feet away she looked like a lot of class. From 10 feet away she looked like something made up to be seen from 30 feet away.
β
β
Raymond Chandler (The High Window (Philip Marlowe, #3))
β
When you choose one way out of many, all the ways you don't take are snuffed out like candles, as if they'd never existed.
β
β
Philip Pullman (The Amber Spyglass (His Dark Materials, #3))
β
I have stolen ideas from every book I have ever read.
β
β
Philip Pullman (The Amber Spyglass (His Dark Materials, #3))
β
I write almost always in the third person, and I don't think the narrator is male or female anyway. They're both, and young and old, and wise and silly, and sceptical and credulous, and innocent and experienced, all at once. Narrators are not even human - they're sprites.
β
β
Philip Pullman
β
We are all subject to the fates. But we must act as if we are not, or die of despair.
β
β
Philip Pullman (The Golden Compass (His Dark Materials, #1))
β
Truth, she thought. As terrible as death. But harder to find.
β
β
Philip K. Dick (The Man in the High Castle)
β
I don't profess any religion; I don't think itβs possible that there is a God; I have the greatest difficulty in understanding what is meant by the words βspiritualβ or βspirituality.'
[Interview, The New Yorker, Dec. 26, 2005]
β
β
Philip Pullman
β
I was as hollow and empty as the spaces between stars.
β
β
Raymond Chandler (The Long Goodbye (Philip Marlowe, #6))
β
He had learned the worst lesson that life can teach - that it makes no sense.
β
β
Philip Roth (American Pastoral)
β
There exists, for everyone, a sentence - a series of words - that has the power to destroy you. Another sentence exists, another series of words, that could heal you. If you're lucky you will get the second, but you can be certain of getting the first.
β
β
Philip K. Dick (VALIS)
β
That's the duty of the old,' said the Librarian, 'to be anxious on the behalf of the young. And the duty of the young is to scorn the anxiety of the old.'
They sat for a while longer, and then parted, for it was late, and they were old and anxious.
β
β
Philip Pullman (The Golden Compass (His Dark Materials, #1))
β
Dead men are heavier than broken hearts.
β
β
Raymond Chandler (The Big Sleep (Philip Marlowe, #1))
β
Iorek Byrnison: Can is not the same as must.
Lyra Silvertongue: But if you must and you can, then there's no excuse.
β
β
Philip Pullman (The Amber Spyglass (His Dark Materials, #3))
β
Every little increase in human freedom has been fought over ferociously between those who want us to know more and be wiser and stronger, and those who want us to obey and be humble and submit.
β
β
Philip Pullman (The Subtle Knife (His Dark Materials, #2))
β
I'll be looking for you, Will, every moment, every single moment. And when we do find each other again, we'll cling together so tight that nothing and no one'll ever tear us apart. Every atom of me and every atom of you... We'll live in birds and flowers and dragonflies and pine trees and in clouds and in those little specks of light you see floating in sunbeams... And when they use our atoms to make new lives, they wont' just be able to take one, they'll have to take two, one of you and one of me, we'll be joined so tight...
β
β
Philip Pullman (His Dark Materials Trilogy: The Golden Compass / The Subtle Knife / The Amber Spyglass)
β
There's a hunger for stories in all of us, adults too. We need stories so much that we're even willing to read bad books to get them, if the good books won't supply them.
β
β
Philip Pullman
β
I needed a drink, I needed a lot of life insurance, I needed a vacation, I needed a home in the country. What I had was a coat, a hat and a gun. I put them on and went out of the room.
β
β
Raymond Chandler (Farewell, My Lovely (Philip Marlowe, #2))
β
No single thing abides; and all things are fucked up.
β
β
Philip K. Dick (The Transmigration of Timothy Archer)
β
I have no enemies. But my friends don't like me.
β
β
Philip Larkin
β
Today we live in a society in which spurious realities are manufactured by the media, by governments, by big corporations, by religious groups, political groups... So I ask, in my writing, What is real? Because unceasingly we are bombarded with pseudo-realities manufactured by very sophisticated people using very sophisticated electronic mechanisms. I do not distrust their motives; I distrust their power. They have a lot of it. And it is an astonishing power: that of creating whole universes, universes of the mind. I ought to know. I do the same thing.
β
β
Philip K. Dick
β
It seemed like a nice neighborhood to have bad habits in.
β
β
Raymond Chandler (The Big Sleep (Philip Marlowe, #1))
β
Maybe each human being lives in a unique world, a private world different from those inhabited and experienced by all other humans. . . If reality differs from person to person, can we speak of reality singular, or shouldn't we really be talking about plural realities? And if there are plural realities, are some more true (more real) than others? What about the world of a schizophrenic? Maybe it's as real as our world. Maybe we cannot say that we are in touch with reality and he is not, but should instead say, His reality is so different from ours that he can't explain his to us, and we can't explain ours to him. The problem, then, is that if subjective worlds are experienced too differently, there occurs a breakdown in communication ... and there is the real illness.
β
β
Philip K. Dick
β
This is a mournful discovery.
1)Those who agree with you are insane
2)Those who do not agree with you are in power.
β
β
Philip K. Dick (VALIS)
β
The idea came to me complete from start to finish β a most unusual occurrence, as any writer will tell you, for ordinarily a story has to be struggled with, changed around and mixed up.
β
β
Philip van Doren Stern
β
It was a blonde. A blonde to make a bishop kick a hole in a stained-glass window.
β
β
Raymond Chandler (Farewell, My Lovely (Philip Marlowe, #2))
β
Children are not less intelligent than adults; what they are is less informed.
β
β
Philip Pullman
β
This, to me, is the ultimately heroic trait of ordinary people; they say no to the tyrant and they calmly take the consequences of this resistance.
β
β
Philip K. Dick
β
I am a strong believer in the tyranny, the dictatorship, the absolute authority of the writer.
β
β
Philip Pullman
β
You mean old books?"
"Stories written before space travel but about space travel."
"How could there have been stories about space travel before --"
"The writers," Pris said, "made it up.
β
β
Philip K. Dick (Do Androids Dream of Electric Sheep?)
β
Strange how paranoia can link up with reality now and then.
β
β
Philip K. Dick (A Scanner Darkly)
β
Just because something bears the aspect of the inevitable one should not, therefore, go along willingly with it.
β
β
Philip K. Dick (The Transmigration of Timothy Archer)
β
Drug misuse is not a disease, it is a decision, like the decision to step out in front of a moving car. You would call that not a disease but an error of judgment.
β
β
Philip K. Dick
β
Poetry is nobodyβs business except the poetβs, and everybody else can fuck off.
β
β
Philip Larkin
β
If you want something you can have it, but only if you want everything that goes with it, including all the hard work and the despair, and only if you're willing to risk failure.
β
β
Philip Pullman (Clockwork (Cover to Cover))
β
Even if it means oblivion, friends, I'll welcome it, because it won't be nothing. We'll be alive again in a thousand blades of grass, and a million leaves; we'll be falling in the raindrops and blowing in the fresh breeze; we'll be glittering in the dew under the stars and the moon out there in the physical world, which is our true home and always was.
β
β
Philip Pullman (The Amber Spyglass (His Dark Materials, #3))
β
A man is an angel that has gone deranged.
β
β
Philip K. Dick
β
So Lyra and her daemon turned away from the world they were born in, and looked toward the sun, and walked into the sky.
β
β
Philip Pullman (The Golden Compass (His Dark Materials, #1))
β
I have learned that faith means trusting in advance what will only make sense in reverse.
β
β
Philip Yancey
β
You put too much stock in human intelligence, it doesn't annihilate human nature.
β
β
Philip Roth (American Pastoral)
β
When he'd sworn at her and been sworn at in return, they became great friends.
β
β
Philip Pullman (The Golden Compass (His Dark Materials, #1))
β
A man who drinks too much on occasion is still the same man as he was sober. An alcoholic, a real alcoholic, is not the same man at all. You can't predict anything about him for sure except that he will be someone you never met before.
β
β
Raymond Chandler (The Long Goodbye (Philip Marlowe, #6))
β
The pleasure isn't in owning the person. The pleasure is this. Having another contender in the room with you.
β
β
Philip Roth (The Human Stain (The American Trilogy, #3))
β
Certainly it constitutes bad news when the people who agree with you are buggier than batshit.
β
β
Philip K. Dick
β
I guess that's the story of life: what you most fear never happens, but what you most yearn for never happens either. This is the difference between life and fiction. I suppose it's a good trade-off. But I'm not sure.
β
β
Philip K. Dick
β
She gave me a smile I could feel in my hip pocket.
β
β
Raymond Chandler (Farewell, My Lovely (Philip Marlowe, #2))
β
There is no route out of the maze. The maze shifts as you move through it, because it is alive.
β
β
Philip K. Dick (VALIS)
β
We shouldn't live as if [other worlds] mattered more than this life in this world, because where we are is always the most important place.
β
β
Philip Pullman (The Amber Spyglass (His Dark Materials, #3))
β
If I had known it was harmless I would have killed it myself.
β
β
Philip K. Dick (A Scanner Darkly)
β
The girl gave him a look which ought to have stuck at least four inches out of his back.
β
β
Raymond Chandler (The Long Goodbye (Philip Marlowe, #6))
β
Stop worrying about growing old. And think about growing up.
β
β
Philip Roth (The Dying Animal)
β
Maybe sometimes we don't do the right thing because the wrong thing looks more dangerous, and we don't want to look scared, so we go and do the wrong thing just because it's dangerous. We're more concerned with not looking scared than with judging right.
β
β
Philip Pullman (The Amber Spyglass (His Dark Materials, #3))
β
I told him I was going to betray you, and betray Lyra, and he believed me because I was corrupt and full of wickedness; he looked so deep I felt sure he'd see the truth. But I lied too well. I was lying with every nerve and fiber and everything I'd ever done...I wanted him to find no good in me, and he didn't. There is none.
β
β
Philip Pullman (The Amber Spyglass (His Dark Materials, #3))
β
I don't mind your showing me your legs. They're very swell legs and it's a pleasure to make their acquaintace. I don't mind if you don't like my manners. They're pretty bad. I grieve over them during the long winter nights.
β
β
Raymond Chandler (The Big Sleep (Philip Marlowe, #1))
β
When you look at what C.S. Lewis is saying, his message is so anti-life, so cruel, so unjust. The view that the Narnia books have for the material world is one of almost undisguised contempt. At one point, the old professor says, βItβs all in Platoβ β meaning that the physical world we see around us is the crude, shabby, imperfect, second-rate copy of something much better. I want to emphasize the simple physical truth of things, the absolute primacy of the material life, rather than the spiritual or the afterlife.
[The New York Times interview, 2000]
β
β
Philip Pullman
β
And I came to believe that good and evil are names for what people do, not for what they are. All we can say is that this is a good deed, because it helps someone or that's an evil one because it hurts them. People are too complicated to have simple labels.
β
β
Philip Pullman (The Amber Spyglass (His Dark Materials, #3))
β
As for what it's against - the story is against those who pervert and misuse religion, or any other kind of doctrine with a holy book and a priesthood and an apparatus of power that wields unchallengeable authority, in order to dominate and suppress human freedoms.
β
β
Philip Pullman (His Dark Materials)
β
I never felt like that before. Maybe it could be depression, like you get. I can understand how you suffer now when you're depressed; I always thought you liked it and I thought you could have snapped yourself out any time, if not alone then by means of the mood organ. But when you get that depressed you don't care. Apathy, because you've lost a sense of worth. It doesn't matter whether you feel better because you have no worth.
β
β
Philip K. Dick (Do Androids Dream of Electric Sheep?)
β
I'm trying to undermine the basis of Christian belief... I'm not in the business of offending people. I find the books upholding certain values that I think are important, such as life is immensely valuable and this world is an extraordinarily beautiful place. We should do what we can to increase the amount of wisdom in the world.
[Washington Post interview, 19 February 2001]
β
β
Philip Pullman
β
...But it gradually seemed to me that I'd made myself believe something that wasn't true. I'd made myself believe that I was fine and happy and fulfilled on my own without the love of anyone else. Being in love was like China: you knew it was there, and no doubt it was very interesting, and some people went there, but I never would. I'd spend all my life without ever going to China, but it wouldn't matter, because there was all the rest of the world to visit... And I thought: am I really going to spend the rest of my life without feeling that again? I thought: I want to go to China. It's full of treasures and strangeness and mysteries and joy.
β
β
Philip Pullman (The Amber Spyglass (His Dark Materials, #3))
β
She wondered whether there would ever come an hour in her life when she didn't think of him -- didn't speak to him in her head, didn't relive every moment they'd been together, didn't long for his voice and his hands and his love. She had never dreamed of what it would feel like to love someone so much; of all the things that had astonished her in her adventures, that was what astonished her the most. She thought the tenderness it left in her heart was like a bruise that would never go away, but she would cherish it forever.
β
β
Philip Pullman (His Dark Materials Trilogy: The Golden Compass / The Subtle Knife / The Amber Spyglass)
β
It comes from history. It comes from the record of the Inquisition, persecuting heretics and torturing Jews and all that sort of stuff; and it comes from the other side, too, from the Protestants burning the Catholics. It comes from the insensate pursuit of innocent and crazy old women, and from the Puritans in America burning and hanging the witches β and it comes not only from the Christian church but also from the Taliban. Every single religion that has a monotheistic god ends up by persecuting other people and killing them because they don't accept him. Wherever you look in history, you find that. Itβs still going on.
β
β
Philip Pullman
β
You are so young, Lyra, too young to understand this, but I shall tell you anyway and you'll understand it later: men pass in front of our eyes like butterflies, creatures of a brief season. We love them; they are brave, proud, beautiful, clever; and they die almost at once. They die so soon that our hearts are continually racked with pain. We bear their children, who are witches if they are female, human if not; and then in the blink of an eye they are gone, felled, slain, lost. Our sons, too. When a little boy is growing, he thinks he is immortal. His mother knows he isn't. Each time becomes more painful, until finally your heart is broken. Perhaps that is when Yambe-Akka comes for you. She is older than the tundra. Perhaps, for her, witches' lives are as brief as men's are to us.
β
β
Philip Pullman (The Golden Compass (His Dark Materials, #1))
β
You fight your superficiality, your shallowness, so as to try to come at people without unreal expectations, without an overload of bias or hope or arrogance, as untanklike as you can be, sans cannon and machine guns and steel plating half a foot thick; you come at them unmenacingly on your own ten toes instead of tearing up the turf with your caterpillar treads, take them on with an open mind, as equals, man to man, as we used to say, and yet you never fail to get them wrong. You might as well have the brain of a tank. You get them wrong before you meet them, while you're anticipating meeting them; you get them wrong while you're with them; and then you go home to tell somebody else about the meeting and you get them all wrong again. Since the same generally goes for them with you, the whole thing is really a dazzling illusion. ... The fact remains that getting people right is not what living is all about anyway. It's getting them wrong that is living, getting them wrong and wrong and wrong and then, on careful reconsideration, getting them wrong again. That's how we know we're alive: we're wrong. Maybe the best thing would be to forget being right or wrong about people and just go along for the ride. But if you can do that -- well, lucky you.
β
β
Philip Roth (American Pastoral)
β
Oh, Will," she said, "What can we do? Whatever can we do? I want to live with you forever. I want to kiss you and lie down with you and wake up with you every day of my life till I die, years and years and years away. I don't want a memory, just a memory..."
"No," he said. "Memory's a poor thing to have. It's your own real hair and mouth and arms and eyes and hands I want. I didn't know I could ever love anything so much. Oh, Lyra, I wish this night would never end! If only we could stay here like this, and the world could stop turning, and everyone else could fall into a sleep..."
"Everyone except us! And you and I could live here forever and just love each other."
"I will love you forever; whatever happens. Till I die and after I die, and when I find my way out of the land of the dead, I'll drift about forever, all my atoms, till I find you again..."
"I'll be looking for you, Will, every moment, every single moment. And when we do find each other again, we'll cling together so tight that nothing and no one'll ever tear us apart. Every atom of me and every atom of you...We'll live in birds and flowers and dragonflies and pin trees and in clouds and in those little specks of light you see floating in sunbeams...And when they use our atoms to make new lives, they won't just be able to take one, they'll have to take two, one of you and one of me, we'll be joined so tight..."
They lay side by side, hand in hand, looking at the sky.
β
β
Philip Pullman (The Amber Spyglass (His Dark Materials, #3))
β
Grief reunites you with what you've lost. It's a merging; you go with the loved thing or person that's going away. You follow it a far as you can go.
But finally,the grief goes away and you phase back into the world. Without him.
And you can accept that. What the hell choice is there? You cry, you continue to cry, because you don't ever completely come back from where you went with him -- a fragment broken off your pulsing, pumping heart is there still. A cut that never heals.
And if, when it happens to you over and over again in life, too much of your heart does finally go away, then you can't feel grief any more. And then you yourself are ready to die. You'll walk up the inclined ladder and someone else will remain behind grieving for you.
β
β
Philip K. Dick (Flow My Tears, the Policeman Said)
β
What does a scanner see? he asked himself. I mean, really see? Into the head? Down into the heart? Does a passive infrared scanner like they used to use or a cube-type holo-scanner like they use these days, the latest thing, see into me - into us - clearly or darkly? I hope it does, he thought, see clearly, because I can't any longer these days see into myself. I see only murk. Murk outside; murk inside. I hope, for everyone's sake, the scanners do better. Because, he thought, if the scanner sees only darkly, the way I myself do, then we are cursed, cursed again and like we have been continually, and we'll wind up dead this way, knowing very little and getting that little fragment wrong too.
β
β
Philip K. Dick (A Scanner Darkly)
β
Aubade
I work all day, and get half-drunk at night.
Waking at four to soundless dark, I stare.
In time the curtain-edges will grow light.
Till then I see whatβs really always there:
Unresting death, a whole day nearer now,
Making all thought impossible but how
And where and when I shall myself die.
Arid interrogation: yet the dread
Of dying, and being dead,
Flashes afresh to hold and horrify.
The mind blanks at the glare. Not in remorse
βThe good not done, the love not given, time
Torn off unusedβnor wretchedly because
An only life can take so long to climb
Clear of its wrong beginnings, and may never;
But at the total emptiness for ever,
The sure extinction that we travel to
And shall be lost in always. Not to be here,
Not to be anywhere,
And soon; nothing more terrible, nothing more true.
This is a special way of being afraid
No trick dispels. Religion used to try,
That vast moth-eaten musical brocade
Created to pretend we never die,
And specious stuff that says No rational being
Can fear a thing it will not feel, not seeing
That this is what we fearβno sight, no sound,
No touch or taste or smell, nothing to think with,
Nothing to love or link with,
The anaesthetic from which none come round.
And so it stays just on the edge of vision,
A small unfocused blur, a standing chill
That slows each impulse down to indecision.
Most things may never happen: this one will,
And realisation of it rages out
In furnace-fear when we are caught without
People or drink. Courage is no good:
It means not scaring others. Being brave
Lets no one off the grave.
Death is no different whined at than withstood.
Slowly light strengthens, and the room takes shape.
It stands plain as a wardrobe, what we know,
Have always known, know that we canβt escape,
Yet canβt accept. One side will have to go.
Meanwhile telephones crouch, getting ready to ring
In locked-up offices, and all the uncaring
Intricate rented world begins to rouse.
The sky is white as clay, with no sun.
Work has to be done.
Postmen like doctors go from house to house.
β
β
Philip Larkin (Collected Poems)