Postscript Book Quotes

Thus I rediscovered what writers have always known (and have told us again and again): books always speak of other books, and every story tells a story that has already been told.

There is no mistaking a real book when one meets it. It is like falling in love, and like that colossal adventure it is an experience of great social import. Even as the tranced swain, the booklover yearns to tell others of his bliss. He writes letters about it, adds it to the postscript of all manner of communications, intrudes it into telephone messages, and insists on his friends writing down the title of the find. Like the simple-hearted betrothed, once certain of his conquest, “I want you to love her, too!” It is a jealous passion also. He feels a little indignant if he finds that any one else has discovered the book, too.

It seems that the Parisian Oulipo group has recently constructed a matrix of all possible murder-story situations and has found that there is still to be written a book in which the murderer is the reader. Moral: there exist obsessive ideas, they are never personal; books talk among themselves, and any true detection should prove that we are the guilty party.

It becomes the responsibility of every man, upon realizing he lacks the truth, to seek it out. —From The Way of Kings, postscript

She added a postscript to the note: “If you’re near my place sometime, stop by. I’d like to give you a copy of the book,” and addressed it to him at the lab. The next week she hired a fix-it man,

As a postscript, it is interesting to note that on a visit to London in 1886, Ouida did meet Oscar Wilde and indeed published four articles in his magazine Woman’s World between 1888 and 1889; her experience of knowing Wilde, who described her as “the last romantic”, did influence her later works, however superficially.

That is no doubt how the story ought to end, with the seals and the stars, explanation, resignation, reconciliation, everything picked up into some radiant bland ambiguous higher significance, in calm of mind, all passion spent. However life, unlike art, has an irritating way of bumping and limping on, undoing conversions, casting doubt on solutions, and generally illustrating the impossibility of living happily or virtuously ever after; so I thought I might continue the tale a little longer in the form once again of a diary, though I suppose that, if this is a book, it will have to end, arbitrarily enough no doubt, in quite a short while.

Postscript, 2005 From the Publisher ON APRIL 7, 2004, the Mid-Hudson Highland Post carried an article about an appearance that John Gatto made at Highland High School. Headlined “Rendered Speechless,” the report was subtitled “Advocate for education reform brings controversy to Highland.” The article relates the events of March 25 evening of that year when the second half of John Gatto’s presentation was canceled by the School Superintendent, “following complaints from the Highland Teachers Association that the presentation was too controversial.” On the surface, the cancellation was in response to a video presentation that showed some violence. But retired student counselor Paul Jankiewicz begged to differ, pointing out that none of the dozens of students he talked to afterwards were inspired to violence. In his opinion, few people opposing Gatto had seen the video presentation. Rather, “They were taking the lead from the teacher’s union who were upset at the whole tone of the presentation.” He continued, “Mr. Gatto basically told them that they were not serving kids well and that students needed to be told the truth, be given real-life learning experiences, and be responsible for their own education. [Gatto] questioned the validity and relevance of standardized tests, the prison atmosphere of school, and the lack of relevant experience given students.” He added that Gatto also had an important message for parents: “That you have to take control of your children’s education.” Highland High School senior Chris Hart commended the school board for bringing Gatto to speak, and wished that more students had heard his message. Senior Katie Hanley liked the lecture for its “new perspective,” adding that ”it was important because it started a new exchange and got students to think for themselves.” High School junior Qing Guo found Gatto “inspiring.” Highland teacher Aliza Driller-Colangelo was also inspired by Gatto, and commended the “risk-takers,” saying that, following the talk, her class had an exciting exchange about ideas. Concluded Jankiewicz, the students “were eager to discuss the issues raised. Unfortunately, our school did not allow that dialogue to happen, except for a few teachers who had the courage to engage the students.” What was not reported in the newspaper is the fact that the school authorities called the police to intervene and ‘restore the peace’ which, ironically enough, was never in the slightest jeopardy as the student audience was well-behaved and attentive throughout. A scheduled evening meeting at the school between Gatto and the Parents Association was peremptorily forbidden by school district authorities in a final assault on the principles of free speech and free assembly… There could be no better way of demonstrating the lasting importance of John Taylor Gatto’s work, and of this small book, than this sorry tale. It is a measure of the power of Gatto’s ideas, their urgency, and their continuing relevance that school authorities are still trying to shut them out 12 years after their initial publication, afraid even to debate them. — May the crusade continue! Chris Plant Gabriola Island, B.C. February, 2005

Kierkegaard made the point that Christianity is unscientific. That is, one does not relate to Christianity objectively. In one of his most influential books, Concluding Unscientific Postscript, Kierkegaard fervently reminds us that one cannot relate to Christianity as one relates to science.

I’ll die as I’ve lived, amid all the junk on the outskirts, sold by weight among the postscripts of the broken.

When I got back to school in the fall, I gave my opus to Jerry Bovim, the only real writer I knew. Jerry hadn’t actually published anything, but I could tell Jerry was a real writer because, although he was not yet thirty, he was already drinking himself to death. (I still have some of Jerry’s fragmentary manuscripts, and the sad truth is that he was a real writer. Indeed, he might have been another John Kennedy Toole if only he’d killed himself after he’d completed something instead of before.) Jerry wrote a long critique, a largely charitable assessment in which he expounded upon the difficulties of the picaresque novel, the challenges of first-person narration, and the need for consistency in fictional point of view. He allowed that some of my characters were effective, was indulgent with my attempts at plot development, and even went so far as to say “the thing as a whole is rather likable.” But at the end of his commentary he appended this postscript: “It has just occurred to me that there is, however, the dreadful possibility that your book is supposed to be serious.

Secondly, as Kuhn himself stated clearly in his postscript: “The paradigm as shared example is the central element of what I now take to be the most novel and least understood aspect of this book” (186).

Women write about violence because women experience violence,’ says Becki. This simple truth has the effect of dissolving any remaining laughter in the room. ‘Men hate us. Books are a way of getting our own back.

Another impressive postscript which you can tag on to a description is: ‘Observer familiar with the species’ (this is supposed to denote that you’ve seen one before, either in this country or abroad and so can be reliably expected to recognise it again) but it isn’t infallible – the record may well come back with a reject slip marked: ‘Committee familiar with the observer’!

One must, however, take care not to understand this conversation with God--the conversation of which I have to speak in this book and in almost all the works which followed--as something happening solely alongside or above the everyday. God's speech to men penetrates what happens in the life of each one of us, and all that happens in the world around us, biographical and historical, and makes it for you and me into instruction, message, demand. Happening upon happening, situation upon situation, are enabled and empowered by the personal speech of God to demand of the human person that he take his stand and make his decision. Often enough we think there is nothing to hear, but long before we have ourselves put wax in our ears. (Postscript, October 1957)

The author's postscript relating the ceremony on Harney Peak does little to buoy hope. There the old man prayed that the sacred tree might bloom again and the people find their way back to the sacred hoop and the good red road. He cried out, "O make my people live!"-and in reply a low rumble of thunder sounded, and a drizzle of rain fell from a sky that shortly before had been cloudless. Whether this sign was a hopeful one or, more likely, a tragic recognition of the power that Black Elk had been given but failed to use is one of the dynamic issues that makes the book a literary success. Black Elk Speaks can be best characterized as an elegy, the commemoration of a man who has failed in his life's work, as well as of a people whose way of life has passed.

You do know, don't you, Allen, that God is a bookseller? He publishes one book-the text of suffering - over and over again. He disguises it between new boards, in different shapes and sizes, prints on varying papers, in many fonts, adds prefaces and postscripts to deceive the buyer, but it's always the same book.

In this Postscript I distinguish references back to the revised text of this book by placing these in italics thus (262), from references to the works of other authors under discussion, which are thus (p. 162). account

I have often tried in dreams to be the kind of imposing individual the Romantics imagined themselves to be, and whenever I have, I’ve always ended up laughing out loud at myself for even giving house-room to such an idea. After all, the homme fatal exists in the dreams of all ordinary men, and romanticism is merely the turning inside out of our normal daily selves. In the most secret part of their being, all men dream of ruling over a great empire, with all men their subjects, all women theirs for the asking, adored by all the people and (if they are inferior men) of all ages … Few are as accustomed to dreaming as I am and so are not lucid enough to laugh at the aesthetic possibility of nurturing such dreams. The most serious criticism of romanticism has not yet been made, namely, that it represents the inner truth of human nature, an externalization of what lies deepest in the human soul, but made concrete, visible, even possible, if being possible depends on something other than Fate, and its excesses, its absurdities, its various ploys for moving and seducing people, all stem from that. Even I who laugh at the seductive traps laid by the imagination often find myself imagining how wonderful it would be to be famous, how gratifying to be loved, how thrilling to be a success! And yet I can never manage to see myself in those exulted roles without hearing a guffaw from the other “I” I always keep as close to me as a street in the Baixa. Do I imagine myself famous? Only as a famous bookkeeper. Do I fancy myself raised up onto the thrones of celebrity? This fantasy only ever comes upon me in the office in Rua dos Douradores, and my colleagues inevitably ruin the effect. Do I hear the applause of the most variegated multitudes? That applause comes from the cheap fourth-floor room where I live and clashes horribly with the shabby furnishings, with the surrounding vulgarity, humiliating both me and the dream. I never even had any castles in Spain, like those Spaniards we Portuguese have always feared. My castles were built out of an incomplete deck of grubby playing cards; and they didn’t collapse of their own accord, but had to be demolished with a sweeping gesture of the hand, the impatient gesture of an elderly maid wanting to restore the tablecloth and reset the table, because teatime was calling like some fateful curse. Even that vision is of little worth, because I don’t have a house in the provinces or old aunts at whose table, at the end of a family gathering, I sit sipping a cup of tea that tastes to me of repose. My dream failed even in its metaphors and figurations. My empire didn’t even go as far as a pack of old playing cards. My victory didn’t even include a teapot or an ancient cat. I will die as I lived, among the bric-a-brac of my room, sold off by weight among the postscripts of things lost. May I at least take with me into the immense possibilities to be found in the abyss of everything the glory of my disillusion as if it were that of a great dream, the splendor of my unbelief like a flag of defeat — a flag held aloft by feeble hands, but dragged through the mud and blood of the weak and held on high as we sink into the shifting sands, whether in protest or defiance or despair no one knows … No one knows because no one knows anything, and the sands swallow up those with flags and those without … And the sands cover everything, my life, my prose, my eternity. I carry with me the knowledge of my defeat as if it were a flag of victory

I have often tried in dreams to be the kind of imposing individual the Romantics imagined themselves to be, and whenever I have, I’ve always ended up laughing out loud at myself for even giving house-room to such an idea. After all, the homme fatal exists in the dreams of all ordinary men, and romanticism is merely the turning inside out of our normal daily selves. In the most secret part of their being, all men dream of ruling over a great empire, with all men their subjects, all women theirs for the asking, adored by all the people and (if they are inferior men) of all ages … Few are as accustomed to dreaming as I am and so are not lucid enough to laugh at the aesthetic possibility of nurturing such dreams. The most serious criticism of romanticism has not yet been made, namely, that it represents the inner truth of human nature, an externalization of what lies deepest in the human soul, but made concrete, visible, even possible, if being possible depends on something other than Fate, and its excesses, its absurdities, its various ploys for moving and seducing people, all stem from that. Even I who laugh at the seductive traps laid by the imagination often find myself imagining how wonderful it would be to be famous, how gratifying to be loved, how thrilling to be a success! And yet I can never manage to see myself in those exulted roles without hearing a guffaw from the other “I” I always keep as close to me as a street in the Baixa. Do I imagine myself famous? Only as a famous bookkeeper. Do I fancy myself raised up onto the thrones of celebrity? This fantasy only ever comes upon me in the office in Rua dos Douradores, and my colleagues inevitably ruin the effect. Do I hear the applause of the most variegated multitudes? That applause comes from the cheap fourth-floor room where I live and clashes horribly with the shabby furnishings, with the surrounding vulgarity, humiliating both me and the dream. I never even had any castles in Spain, like those Spaniards we Portuguese have always feared. My castles were built out of an incomplete deck of grubby playing cards; and they didn’t collapse of their own accord, but had to be demolished with a sweeping gesture of the hand, the impatient gesture of an elderly maid wanting to restore the tablecloth and reset the table, because teatime was calling like some fateful curse. Even that vision is of little worth, because I don’t have a house in the provinces or old aunts at whose table, at the end of a family gathering, I sit sipping a cup of tea that tastes to me of repose. My dream failed even in its metaphors and figurations. My empire didn’t even go as far as a pack of old playing cards. My victory didn’t even include a teapot or an ancient cat. I will die as I lived, among the bric-a-brac of my room, sold off by weight among the postscripts of things lost. May I at least take with me into the immense possibilities to be found in the abyss of everything the glory of my disillusion as if it were that of a great dream, the splendor of my unbelief like a flag of defeat — a flag held aloft by feeble hands, but dragged through the mud and blood of the weak and held on high as we sink into the shifting sands, whether in protest or defiance or despair no one knows … No one knows because no one knows anything, and the sands swallow up those with flags and those without … And the sands cover everything, my life, my prose, my eternity. I carry with me the knowledge of my defeat as if it were a flag of victory

As he drove on, the sense that they were not on the same page –that they needed different things at this crucial time –entered the car like a discomfiting presence. He’d thought –he’d felt –that yesterday morning had been their proper leavetaking, and that this trip to the airport was just . . . a postscript, almost. Yesterday morning had been so right. They’d finally worked their way to the bottom of their ‘To Do’list. His bag was already packed. Bea had the day off work, they’d slept like logs, they’d woken up to brilliant sunshine warming the yellow duvet of their bed. Joshua the cat had been lying in a comical pose at their feet; they’d nudged him off and made love, without speaking, slowly and with great tenderness.