Realism In Quotes

I am no bird; and no net ensnares me: I am a free human being with an independent will.

I am not an angel,' I asserted; 'and I will not be one till I die: I will be myself. Mr. Rochester, you must neither expect nor exact anything celestial of me - for you will not get it, any more than I shall get it of you: which I do not at all anticipate.

I don't want realism. I want magic! Yes, yes, magic! I try to give that to people. I misrepresent things to them. I don't tell the truth, I tell what ought to be the truth. And it that's sinful, then let me be damned for it!

I am not an angel," I asserted; "and I will not be one till I die: I will be myself.

I don't want realism. I want magic!

The true definition of mental illness is when the majority of your time is spent in the past or future, but rarely living in the realism of NOW.

I hate vulgar realism in literature. The man who would call a spade a spade should be compelled to use one.

Realism can break a writer's heart.

Depression presents itself as a realism regarding the rottenness of the world in general and the rottenness of your life in particular. But the realism is merely a mask for depression's actual essence, which is an overwhelming estrangement from humanity. The more persuaded you are of your unique access to the rottenness, the more afraid you become of engaging with the world; and the less you engage with the world, the more perfidiously happy-faced the rest of humanity seems for continuing to engage with it.

The secret of happiness is to face the fact that the world is horrible, horrible, horrible.

Make no mistake: You will be challenged at some point in time. We all are. That’s just life.

The monster I kill every day is the monster of realism. The monster who attacks me every day is destruction. Out of the duel comes the transformation. I turn destruction into creation over and over again.

Set your fantasies in the here and now and then, if challenged, claim to be writing Magical Realism.

Power is not a means; it is an end. One does not establish a dictatorship in order to safeguard a revolution; one makes the revolution in order to establish the dictatorship. The object of persecution is persecution. The object of torture is torture. The object of power is power.

Don't be led away by those howls about realism. Remember-pine woods are just as real as pigsties and a darn sight pleasanter to be in.

We thought we were being mature when we were only being safe. We imagined we were being responsible but were only being cowardly. What we called realism turned out to be a way of avoiding things rather than facing them.

Maybe we should always assume the worst.

People will kill you. Over time. They will shave out every last morsel of fun in you with little, harmless sounding phrases that people uses every day, like: 'Be realistic!'" [What It Is (2009)]

It's easier to imagine the end of the world than the end of capitalism.

Satire is people as they are; romanticism, people as they would like to be; realism, people as they seem with their insides left out.

Was I ignorant, then, when I was seventeen? I think not. I knew everything. A quarter-century's experience of life since then has added nothing to what I knew. The one difference is that at seventeen I had no 'realism'.

Capital is an abstract parasite, an insatiable vampire and zombie maker; but the living flesh it converts into dead labor is ours, and the zombies it makes are us.

Nothing is less real than realism. Details are confusing. It is only by selection, by elimination, by emphasis, that we get at the real meaning of things.

I don't know about you, but I'm kind of fed up with realism. After all, there's enough reality already; why make more of it? Why not leave realism for the memoirs of drug addicts, the histories of salt, the biographies of porn stars? Why must we continue to read about the travails of divorced people or mildly depressed Canadians when we could be contemplating the shopping habits of zombies, or the difficulties that ensue when living and dead people marry each other? We should be demanding more stories about faery handbags and pyjamas inscribed with the diaries of strange women. We should not rest until someone writes about a television show that features the Free People's World-Tree Library, with its elaborate waterfalls and Forbidden Books and Pirate-Magicians. We should be pining for a house haunted by rabbits. (from the review of Kelly Link's Magic for Beginners in The Guardian)

Life is painful and disappointing. It is useless, therefore, to write new realistic novels. We generally know where we stand in relation to reality and don’t care to know any more.

Think I'll miss you forever, Like the stars miss the sun in the morning sky.

The more one knows fairy tales the less fantastical they appear; they can be vehicles of the grimmest realism, expressing hope against all the odds with gritted teeth.

He recognized with authentic realism that anyone who permits another to determine the quality of his inner life gives into the hands of the other the keys to his destiny.

I don't want realism. I want magic! Yes, yes, magic. I try to give that to people. I do misrepresent things. I don't tell truths. I tell what ought to be truth.

The current ruling ontology denies any possibility of a social causation of mental illness. The chemico-biologization of mental illness is of course strictly commensurate with its depoliticization. Considering mental illness an individual chemico-biological problem has enormous benefits for capitalism. First, it reinforces Capital’s drive towards atomistic individualization (you are sick because of your brain chemistry). Second, it provides an enormously lucrative market in which multinational pharmaceutical companies can peddle their pharmaceuticals (we can cure you with our SSRIs). It goes without saying that all mental illnesses are neurologically instantiated, but this says nothing about their causation. If it is true, for instance, that depression is constituted by low serotonin levels, what still needs to be explained is why particular individuals have low levels of serotonin. This requires a social and political explanation; and the task of repoliticizing mental illness is an urgent one if the left wants to challenge capitalist realism.

And the true realism, always and everywhere, is that of the poets: to find out where joy resides, and give it a voice far beyond singing. For to miss the joy is to miss all.

Are not all religions strange to those who stand outside of them?

Expectations are at war, if good feeling and discomfort clash. When we are expecting zest and joy, our good karma may be ousted by distress and frustration, if negative downbeat waves are emitted. Just with a feel of realism, without prejudice, should we step into the future. What will be, will be. Only the fortune of war will tell, since life may be war or peace. ("Fish for silence.")

The real poetry and beauty in life comes from an intense relationship with reality in all its aspects. Realism is in fact the ideal we must aspire to, the highest point of human rationality.

Recycling and speed limits are bullshit. They're like someone who quits smoking on his deathbed.

Doubt is a question mark; faith is an exclamation point. The most compelling, believable, realistic stories have included them both.

It's lies. It's all lies. Some of them are just prettier than others, that's all. People see what they think is there.

At this moment, as I stood on the verge of tears, the words "realism" and "romanticism" welled up within me. I have no sense of realism. And that this very fact might be what permits me to go on living sends cold chills through my whole body.

Realism falls short of reality. It shrinks it, attenuates it, falsifies it; it does not take into account our basic truths and our fundamental obsessions: love, death, astonishment. It presents man in a reduced and estranged perspective. Truth is in our dreams, in the imagination.

There are always loose ends in real life.

While navigating our blind dates and relationships, let us not hesitate to apply critical thinking and maintain an offset between idealism and realism. When we balance our aspirations with the constraints of reality, we can steer the unpredictability of life with insight and resilience. ("Blind Date")

Can you not see," I said, "that fairy tales in their essence are quite solid and straightforward; but that this everlasting fiction about modern life is in its nature essentially incredible? Folk-lore means that the soul is sane, but that the universe is wild and full of marvels. Realism means that the world is dull and full of routine, but that the soul is sick and screaming. The problem of the fairy tale is—what will a healthy man do with a fantastic world? The problem of the modern novel is—what will a madman do with a dull world? In the fairy tales the cosmos goes mad; but the hero does not go mad. In the modern novels the hero is mad before the book begins, and suffers from the harsh steadiness and cruel sanity of the cosmos.

I remember a period in late adolescence when my mind would make itself drunk with images of adventurousness. This is how it will be when I grow up. I shall go there, do this, discover that, love her, and then her and her and her. I shall live as people in novels live and have lived. Which ones I was not sure, only that passion and danger, ecstasy and despair (but then more ecstasy) would be in attendance. However...who said that thing about "the littleness of life that art exaggerates"? There was a moment in my late twenties when I admitted that my adventurousness had long since petered out. I would never do those things adolescence had dreamt about. Instead, I mowed my lawn, I took holidays, I had my life. But time...how time first grounds us and then confounds us. We thought we were being mature when we were only being safe. We imagined we were being responsible but we were only being cowardly. What we called realism turned out to be a way of avoiding things rather than facing them. Time...give us enough time and our best-supported decisions will seem wobbly, our certainties whimsical.

The Symbol of all Art is the Prism. The goal is destructive. To break up the white light of objective realism into the secret glories it contains.

I wish to confound all these people, to create a work of art of a supernatural realism and of a spiritualist naturalism. I wish to prove... that nothing is explained in the mysteries which surround us.

I learned my realism from guys like Kafka.

To master magical realism, one must make the real seem unreal but, more importantly, make the unreal seem real.

She could just pack up and leave, but she does not visualize what's beyond ahead.

Opinions are like assholes, everybody's got one and everyone thinks everyone else's stinks.

I'd been in hairier situations than this one. Actually, it's sort of depressing, thinking how many times I'd been in them. But if experience had taught me anything, it was this: No matter how screwed up things are, they can get a whole lot worse.

The pandemic of mental anguish that afflicts our time cannot be properly understood, or healed, if viewed as a private problem suffered by damaged individuals.

If Realism called it like it saw it, Metafiction simply called it as it saw itself seeing itself see it.

It is easier to start a war than to end it.

There are few people whom I really love, and still fewer of whom I think well.The more I see of the world, the more am I dissatisfied with it; and everyday confirms my belief of the inconsistency of all human characters, and of the little dependence that can be placed on the appearance of either merit or sense.

Some people can’t be in your life because they don’t have the power to help you improve it. That doesn’t mean you don’t wish them well, it just means that you are on Chapter ten of your life, when they are on Chapter five. Maybe, it is just enough to meet at the crossroads in life and agree to take separate paths, then with a cheshire grin you both look back and shout, “Beat you to the top of the mountain”, followed by the funnest sprint of both of your lives.

True realism consists in revealing the surprising things which habit keeps covered and prevents us from seeing.

To my mother, I was everything. To my father, nothing at all. To my grandmother, I was a daily reminder of loves long lost.

Who's crazy: people who trust other people, or people who don't?

Art finds her own perfection within, and not outside of, herself. She is not to be judged by any external standard of resemblance.

The nineteenth century dislike of realism is the rage of Caliban seeing his own face in a glass. The nineteenth century dislike of romanticism is the rage of Caliban not seeing his own face in a glass.

It's not about adding diversity for the sake of diversity, it's about subtracting homogeneity for the sake of realism.

... Capitalism will behave antisocially if it is profitable for it to do so, and that can now mean human devastation on an unimaginable scale. What used to be apocalyptic fantasy is today no more than sober realism....

Capitalist realism insists on treating mental health as if it were a natural fact, like weather (but, then again, weather is no longer a natural fact so much as a political-economic effect). In the 1960s and 1970s, radical theory and politics (Laing, Foucault, Deleuze and Guattari, etc.) coalesced around extreme mental conditions such as schizophrenia, arguing, for instance, that madness was not a natural, but a political, category. But what is needed now is a politicization of much more common disorders. Indeed, it is their very commonness which is the issue: in Britain, depression is now the condition that is most treated by the NHS. In his book The Selfish Capitalist, Oliver James has convincingly posited a correlation between rising rates of mental distress and the neoliberal mode of capitalism practiced in countries like Britain, the USA and Australia. In line with James’s claims, I want to argue that it is necessary to reframe the growing problem of stress (and distress) in capitalist societies. Instead of treating it as incumbent on individuals to resolve their own psychological distress, instead, that is, of accepting the vast privatization of stress that has taken place over the last thirty years, we need to ask: how has it become acceptable that so many people, and especially so many young people, are ill?

emancipatory politics must always destroy the appearance of a ‘natural order’, must reveal what is presented as necessary and inevitable to be a mere contingency, just as it must make what was previously deemed to be impossible seem attainable.

The solemn pledge to abstain from telling the truth was called socialist realism.

It's like I am inside this ethereal sphere wherein exists no logic, no reasoning, no typicality, no explanations, no realism, no comparisons, nothing ordinary, and no normalcy. And then if you are to understand me, you have to step into my realm and leave all of those things behind. I'm not typical. I'm not ordinary. And I'm not normal. And I never will be ‎. So I don't see the point of waking up in the morning and wishing to be so.

A film like Wall-E exemplifies what Robert Pfaller has called ‘interpassivity’: the film performs our anti-capitalism for us, allowing us to continue to consume with impunity.

At this point, realism is perhaps the least adequate means of understanding or portraying the incredible realities of our existence.

Existence was not only absurd, it was plain hard work. Think of how many times you put on your underwear in a lifetime. It was appalling, it was disgusting, it was stupid.

The only realism in art is of the imagination.

Utterly bleak and black is not the sum of realism. All the other colors are real, too.

Your strength will be found when you stop struggling with yourself, instead of thinking everyone is a struggle worth overcoming. Every obstacle in life is a lesson that teaches us, not others.

What do I have for the witch behind me? Do you want my life, Sorceress?

Someone said to me once that a cigarette at the right moment is better than all the ideals in the world.

Surgeons must always tell the truth but rarely, if ever, deprive patients of all hope. It can be very difficult to find the balance between optimism and realism.

Put a higher value on yourself. Being hyper-realistic about everything is too simple a get-out.

Embrace her. Embrace her darkness, and when it dawns, you will be stronger.

Those who had nothing substantial to brag about bragged the loudest.

I also felt that Ron and Hermione would have gotten divorced. I'm sorry, I just do. The end of Harry Potter did feel ultimately to me...just the fact everybody had married everybody. The books were so real and so grounded in what things are really like when you're that age, she nailed that so beautifully. And then there was this slightly fantastical ending. I know that was there for her to say, 'Really, I mean it, no more books,' but you do sort of go, people who were in a war are different from people who haven't been, and how does it affect them? But am I going to second-guess my favorite writer? I think not.

It's not much. You begin by thinking there is something extraordinary about it. But you'll find out, when you've been out in the world a while longer, unhappiness is the commonest thing there is.

To ask them to legalize pot is something like asking them to put butter on the handcuffs before they place them on you: something else is hurting you—that's why you need pot, or whiskey, or whips and rubber suits, or screaming music turned so fucking loud you can't think. Or madhouses or mechanical cunts or 162 baseball games in a season. Or Vietnam or Israel or the fear of spiders.

For anyone with a library in their head and love in their heart,

Surrealism, then, neither aims to subvert realism, as does the fantastic, nor does it try to transcend it. It looks for different means by which to explore reality itself.

it will be faithful realism, at least. Stammering is the native eloquence of us fog people.

Our growing dependence on technologies no one seems to understand or control has given rise to feelings of powerlessness and victimization. We find it more and more difficult to achieve a sense of continuity, permanence, or connection with the world around us. Relationships with others are notably fragile; goods are made to be used up and discarded; reality is experienced as an unstable environment of flickering images. Everything conspires to encourage escapist solutions to the psychological problems of dependence, separation, and individuation, and to discourage the moral realism that makes it possible for human beings to come to terms with existential constraints on their power and freedom.

I'm a member and preacher to that church where the blind don't see and the lame don't walk and what's dead stays that way.

Nonintervention does not mean that nothing happens. It means that something else happens.

Negativity is often looked upon [in the USA] as a kind of thought crime. Not since the advent of socialist realism has the world witnessed such pathological upbeatness.

Faith does not, in the realist, spring from the miracle but the miracle from faith. If the realist once believes, then he is bound by his very realism to admit the miraculous also.

I learned that realism can come in all shapes and sizes. The world is big enough for different values to coexist.

Hiking is not escapism; it's realism. The people who choose to spend time outdoors are not running away from anything; we are returning to where we belong.

This man, who for twenty-five years has been reading and writing about art, and in all that time has never understood anything about art, has for twenty-five years been hashing over other people's ideas about realism, naturalism and all that nonsense; for twenty-five years he has been reading and writing about what intelligent people already know and about what stupid people don't want to know--which means that for twenty-five years he's been taking nothing and making nothing out of it. And with it all, what conceit! What pretension!

You'll see some bad things, but if you didn't see them, they'd still be happening.

People who are too optimistic seem annoying. This is an unfortunate misinterpretation of what an optimist really is. An optimist is neither naive, nor blind to the facts, nor in denial of grim reality. An optimist believes in the optimal usage of all options available, no matter how limited. As such, an optimist always sees the big picture. How else to keep track of all that’s out there? An optimist is simply a proactive realist. An idealist focuses only on the best aspects of all things (sometimes in detriment to reality); an optimist strives to find an effective solution. A pessimist sees limited or no choices in dark times; an optimist makes choices. When bobbing for apples, an idealist endlessly reaches for the best apple, a pessimist settles for the first one within reach, while an optimist drains the barrel, fishes out all the apples and makes pie. Annoying? Yes. But, oh-so tasty!

All I want, oh dear friend of mine, is for you to go out with someone. Do something, even if it's not the magical, wonderful thing you had in mind. Don't sit around for one more second pining away for some fantasy that might never come along, because it might not even exist.

Fortunately graduate school had prepared her for this, the constant managing of despair.

...it seems to us that the readers who want fiction to be like life are considerably outnumbered by those who would like life to be like fiction.

Women are the only realists; their whole object in life is to pit their realism against the extravagant, excessive, and occasionally drunken idealism of men.

To the Jews, Maccabees were heroes. That made me wonder if the Irgun or Stern Gang had been more than terrorists. 

Every man has two lives, and the second starts when he realizes he has just one

Realism is simply Romanticism that has lost its reason...that is its reason for existing.

Romance is overrated, realism it is.

You'd like Freedom, Truth, and Justice, wouldn't you, Comrade Sergeant?' said Reg encouragingly. 'I'd like a hard-boiled egg,' said Vimes, shaking the match out. There was some nervous laughter, but Reg looked offended. 'In the circumstances, Sergeant, I think we should set our sights a little higher--' 'Well, yes, we could,' said Vimes, coming down the steps. He glanced at the sheets of papers in front of Reg. The man cared. He really did. And he was serious. He really was. 'But...well, Reg, tomorrow the sun will come up again, and I'm pretty sure that whatever happens we won't have found Freedom, and there won't be a whole lot of Justice, and I'm damn sure we won't have found Truth. But it's just possible that I might get a hard-boiled egg.

The passion for revenge should never blind you to the pragmatics of the situation. There are some people who are so blighted by their past, so warped by experience and the pull of that silken cord, that they never free themselves of the shadows that live in the time machine... And if there is a kind thought due them, it may be found contained in the words of the late Gerald Kersh, who wrote:"... there are men whom one hates until a certain moment when one sees, through a chink in their armour, the writhing of something nailed down and in torment.

Only people with full stomachs become environmentalists.

It isn't a circle--it is simply a long line--as in geometry, you know, one that reaches into infinity. And because we cannot see the end--we also cannot see how it changes. And it is very odd by those who see the changes--who dream, who will not give up--are called idealists...and those who see only the circle we call them the "realists"!

Hysterical optimism will prevail until the world again admits the existence of tragedy, and it cannot admit the existence of tragedy until it again distinguishes between good and evil. . . Hysterical optimism as a sin against knowledge.

I do not like postmodernism, postapocalyptic settings, postmortem narrators, or magic realism. I rarely respond to supposedly clever formal devices, multiple fonts, pictures where they shouldn't be—basically, gimmicks of any kind. I find literary fiction about the Holocaust or any other major world tragedy to be distasteful—nonfiction only, please. I do not like genre mash-ups à la the literary detective novel or the literary fantasy. Literary should be literary, and genre should be genre, and crossbreeding rarely results in anything satisfying. I do not like children's books, especially ones with orphans, and I prefer not to clutter my shelves with young adult. I do not like anything over four hundred pages or under one hundred fifty pages. I am repulsed by ghostwritten novels by reality television stars, celebrity picture books, sports memoirs, movie tie-in editions, novelty items, and—I imagine this goes without saying—vampires.

Tough love and brutal truth from strangers are far more valuable than Band-Aids and half-truths from invested friends, who don’t want to see you suffer any more than you have.

The rules of the universe that we think we know are buried deep in our processes of perception.

To be free means always leaving...or returning to a place where leaves never fall.

When I work, I'm just translating the world around me in what seems to be straightforward terms. For my readers, this is sometimes a vision that's not familiar. But I'm not trying to manipulate reality. This is just what I see and hear.

The role of capitalist ideology is not to make an explicit case for something in the way that propaganda does, but to conceal the fact that the operations of capital do not depend on any sort of subjectively assumed belief. It is impossible to conceive of fascism or Stalinism without propaganda - but capitalism can proceed perfectly well, in some ways better, without anyone making a case for it.

That’s how they hooked you—they gave you just enough to keep alive but they never gave you enough so you could finally escape.

But you know, only boring people get bored. They have to prod themselves continually in order to feel alive.

You want fantasy? Here's one... There's this species that lives on a planet a few miles above molten rock and a few miles below a vacuum that'd suck the air right out of them. They live in a brief geological period between ice ages, when giant asteroids have temporarily stopped smacking into the surface. As far as they can tell, there's nowhere else in the universe where they could stay alive for ten seconds. And what do they call their fragile little slice of space and time? They call it real life.

He wishes he were a skilled poet, it would fit his chosen image perfectly; the poor, tragic, tortured artiste. But he has no talent for words, neither for paints nor music; his uselessness is tremendously total.

I'll tell you what I want. Magic! Yes, yes, magic! I try to give that to people. I misinterpret things to them. I don't tell the truth. I tell what ought to be truth. And if that is sinful, then let me be damned for it! - Don't turn the light on!

There is no line between fine art and illustration; there is no high or low art; there is only art, and it comes in many forms.” (p. 12)

The relationship between capitalism and eco-disaster is neither coincidental nor accidental: capital’s ‘need of a constantly expanding market’, its ‘growth fetish’, mean that capitalism is by its very nature opposed to any notion of sustainability.

In his dreadful lassitude and objectless rage, Cobain seemed to have give wearied voice to the despondency of the generation that had come after history, whose every move was anticipated, tracked, bought and sold before it had even happened. Cobain knew he was just another piece of spectacle, that nothing runs better on MTV than a protest against MTV; knew that his every move was a cliché scripted in advance, knew that even realising it is a cliché. The impasse that paralysed Cobain in precisely the one that Fredric Jameson described: like postmodern culture in general, Cobain found himself in ‘a world in which stylistic innovation is no longer possible, where all that is left is to imitate dead styles in the imaginary museum’.

The long, dark night of the end of history has to be grasped as an enormous opportunity. The very oppressive pervasiveness of capitalist realism means that even glimmers of alternative political and economic possibilities can have a disproportionately great effect. The tiniest event can tear a hole in the grey curtain of reaction which has marked the horizons of possibility under capitalist realism. From a situation in which nothing can happen, suddenly anything is possible again.

The simple truth is that the truth does not exist; it all depends on a person's point of view.

Man is certain of nothing but his ability to fail

The man of science, whether he knows it or not (most often, obviously, he does know it), whether he wishes it or not (ordinarily he does not wish it), cannot help but be a realist in the medieval sense of the term. He is distinguished from the philosopher only by the fact that the philosopher must, in addition, explain and justify the realism practiced by science

In order to heal, it is essential to gather the strength to think negatively. Negative thinking is not a doleful, pessimistic view that masquerades as “realism.” Rather, it is a willingness to consider what is not working. What is not in balance? What have I ignored? What is my body saying no to? Without these questions, the stresses responsible for our lack of balance will remain hidden.

It would have been impossible for me to have told anyone what I derived from these novels, for it was nothing less than than a sense of life itself. All my life had shaped me for the realism, the maturalism of the modern novel, and I could not read enough of them.

My foregrounds are imaginary, my backgrounds real.

Carry on the Flame to a new dawn I am with you. ~the Goddess of the Stars and the Sea

The nature of things is, I admit, a sturdy adversary.

But time...how time first grounds us and then confounds us. We thought we were being mature when we were only being safe. We imagined we were being responsible but were only being cowardly. What called realism turned out to be a way of avoiding things rather than facing them. Time...give us enough time and our best-supported decisions will seem wobbly, our certainties whimsical.

Reality hasn't really sunk in yet, I knew that. I didn't want to know what life was going to feel like when it finally did.

So what if those stupid roosters don't want to crow? If we've learned to live without men, we can learn to live without cocks.

There are no pessimists; there are only realists and liars.

Today the aggressor is the shepherd of peace, and the beaten and hunted are the troublemakers of the world. What's more, there are whole races who believe it!

But in order to speak about all and to all, one has to speak of what all know and of the reality common to us all. The seas, rains, necessity, desire, the struggle against death--these are things that unite us all. We resemble one another in what we see together, in what we suffer together. Dreams change from individual, but the reality of the world is common to us all. Striving towards realism is therefore legitimate, for it is basically related to the artistic adventure.

If you ask me to tell you anything about the nature of what lies beyond the phaneron… my answer is “How should I know?”… I am not dismayed by ultimate mysteries… I can no more grasp what is behind such questions as my cat can understand what is behind the clatter I make while I type this paragraph.

From a situation in which nothing can happen, suddenly anything is possible again.

It is in the capacity to love, that is to SEE, that the liberation of the soul from fantasy consists. The freedom which is a proper human goal is the freedom from fantasy, that is the realism of compassion. What I have called fantasy, the proliferation of blinding self-centered aims and images, is itself a powerful system of energy, and most of what is often called 'will' or 'willing' belongs to this system. What counteracts the system is attention to reality inspired by, consisting of, love.

We could speak about the meaning of life vis-a-vis non-consequential/deontological theories, apodictic transformation schemata, the incoherence of exemplification, metaphysical realism, Cartesian interactive dualism, revised non reductive dualism, postmodernist grammatology and dicey dichotomies. But we would still be left with Nietzsche's preposterous mustache which instills great anguish and skepticism in the brain, which leads (as it did in his case) to utter madness. I suggest we go to Paris instead.

It it is worse than useless for Christians to talk about the importance of Christian morality, unless they are prepared to take their stand upon the fundamentals of Christian theology. It is a lie to say that dogma does not matter; it matters enormously. It is fatal to let people suppose that Christianity is only a mode of feeling; it is vitally necessary to insist that it is first and foremost a rational explanation of the universe. It is hopeless to offer Christianity as a vaguely idealistic aspiration of a simple and consoling kind; it is, on the contrary, a hard, tough, exacting, and complex doctrine, steeped in a drastic and incompromising realism. And it is fatal to imagine that everybody knows quite well what Christianity is and needs only a little encouragement to practice it. The brutal fact is that in this Christian country not one person in a hundred has the faintest notion what the Church teaches about God or man or society or the person of Jesus Christ.... ...Theologically this country is at present is in a state of utter chaos established in the name of religious toleration and rapidly degenerating into flight from reason and the death of hope.

Madness is loving the unsolvable puzzle of your soul and replacing the lost pieces with my own.

Don't know about you, but I like taking up more space.

What shall I give? and which are my miracles? 2. Realism is mine--my miracles--Take freely, Take without end--I offer them to you wherever your feet can carry you or your eyes reach. 3. Why! who makes much of a miracle? As to me, I know of nothing else but miracles, Whether I walk the streets of Manhattan, Or dart my sight over the roofs of houses toward the sky, Or wade with naked feet along the beach, just in the edge of the water, Or stand under trees in the woods, Or talk by day with any one I love--or sleep in the bed at night with any one I love, Or sit at the table at dinner with my mother, Or look at strangers opposite me riding in the car, Or watch honey-bees busy around the hive, of a summer forenoon, Or animals feeding in the fields, Or birds--or the wonderfulness of insects in the air, Or the wonderfulness of the sundown--or of stars shining so quiet and bright, Or the exquisite, delicate, thin curve of the new moon in spring; Or whether I go among those I like best, and that like me best--mechanics, boatmen, farmers, Or among the savans--or to the _soiree_--or to the opera. Or stand a long while looking at the movements of machinery, Or behold children at their sports, Or the admirable sight of the perfect old man, or the perfect old woman, Or the sick in hospitals, or the dead carried to burial, Or my own eyes and figure in the glass; These, with the rest, one and all, are to me miracles, The whole referring--yet each distinct and in its place. 4. To me, every hour of the light and dark is a miracle, Every inch of space is a miracle, Every square yard of the surface of the earth is spread with the same, Every cubic foot of the interior swarms with the same; Every spear of grass--the frames, limbs, organs, of men and women, and all that concerns them, All these to me are unspeakably perfect miracles. To me the sea is a continual miracle; The fishes that swim--the rocks--the motion of the waves--the ships, with men in them, What stranger miracles are there?

...in my opinion miracles will never confound a realist. It is not miracles that bring a realist to faith. A true realist, if he is not a believer, will always find in himself the strength and ability not to believe in miracles as well, and if a miracle stands before him as an irrefutable fact, he will sooner doubt his own senses than admit the fact. And even if he does admit it, he will admit it as a fact of nature that was previously unknown to him. In the realist, faith is not born from miracles, but miracles from faith. Once the realist comes to believe, then, precisely because of his realism, he must also allow for miracles. The Apostle Thomas declared that he would not believe until he saw, and when he saw, he said: "My Lord and My God!" Was it the miracle that made him believe? Most likely not, but he believed first and foremost because he wished to believe, and maybe already fully believed in his secret heart even as he was saying: "I will not believe until I see.

There were two brothers, Truth and Lie. One day they get to playing, throwing cutlasses up into the air. Them cutlasses come down and fast as can be-swish!-chop each of their faces clean off! Truth bed down, searching for his face. But with no eyes, he can't see. Lie, he sneaky. He snatch up Truth's face and run off! Zip! Now Lie go around wearing Truth's face, fooling everybody he meet.

I have said that His Dark Materials is not fantasy but stark realism, and my reason for this is to emphasise what I think is an important aspect of the story, namely the fact that it is realistic, in psychological terms. I deal with matters that might normally be encountered in works of realism, such as adolescence, sexuality, and so on; and they are the main subject matter of the story – the fantasy (which, of course, is there: no-one but a fool would think I meant there is no fantasy in the books at all) is there to support and embody them, not for its own sake. Dæmons, for example, might otherwise be only a meaningless decoration, adding nothing to the story: but I use them to embody and picture some truths about human personality which I couldn't picture so easily without them. I'm trying to write a book about what it means to be human, to grow up, to suffer and learn. My quarrel with much (not all) fantasy is it has this marvelous toolbox and does nothing with it except construct shoot-em-up games. Why shouldn't a work of fantasy be as truthful and profound about becoming an adult human being as the work of George Eliot or Jane Austen?

It goes without saying that all mental illnesses are neurologically instantiated, but this says nothing about their causation. If it is true, for instance, that depression is constituted by low serotonin levels, what still needs to be explained is why particular individuals have low levels of serotonin. This requires a social and political explanation; and the task of repoliticizing mental illness is an urgent one if the left wants to challenge capitalist realism.

Most people are optimists, although they may claim they are not. People who call themselves realists are often the biggest optimists of all.

[A] resistance that dispenses with consolations is always stronger than one which relies on them.

The closet is a closet, but it’s also a rocket or a tree house. Your mind is a palace, as long as you go in the right rooms.

Guess this ain’t the best time to shake hands.

A man can gasp out his life beside you-and you feel none of it. Pity, Sympathy, sure-but you don't feel the pain. Your belly is whole and that's what counts. A half-yard away someone's world is snuffled out in roaring agony-and you feel nothing. That's the misery of the world.

Most literary critics agree that fiction cannot be reduced to mere falsehood. Well-crafted protagonists come to life, pornography causes orgasms, and the pretense that life is what we want it to be may conceivably bring about the desired condition. Hence religious parables, socialist realism, Nazi propaganda. And if this story likewise crawls with reactionary supernaturalism, that might be because its author longs to see letters scuttling across ceilings, cautiously beginning to reify themselves into angels. For if they could only do that, then why not us?

Her body faded away so far, she almost lost her connection to it. Utter blackness enveloped her, shutting off all warmth. All light. All love. All support. All hope. She was pinned, alone, naked, and freezing before a beast so terrifying she struggled to avert her gaze but could not. Horns arose from the top of what had to be a head. Fangs protruded obscenely from a frowning hole that must have been a mouth. Unsheathed claws threatened instant evisceration. Horrifying eyes. Two cesspits of black fury in which red flames churned like burning blood. They bore down on Helen, intensifying the pressure on her to the point of agony. Inside her head a message played over and over. You are helpless. Helen’s fragmented thoughts spun wildly. What to do? How to stop this nightmare? The wretched voice roared again, like nails clashing against slate. “Give me the stone! Now!

Deleuze and Guattari describe capitalism as a kind of dark potentiality which haunted all previous social systems. Capital, they argue, is the ‘unnamable Thing’, the abomination, which primitive and feudal societies ‘warded off in advance’. When it actually arrives, capitalism brings with it a massive desacralization of culture. It is a system which is no longer governed by any transcendent Law; on the contrary, it dismantles all such codes, only to re-install them on an ad hoc basis.

In a situation of manipulation, the Left is almost always tempted by a “quick return to power,” forgets the necessity of joining with the oppressed to forge an organization, and strays into an impossible “dialogue” with the dominant elites. It ends by being manipulated by these elites, and not infrequently itself falls in an elitist game, which it calls “realism.” Manipulation, like the conquest whose objectives it serves, attempts to anesthetize the people so they will not think. For if the people join to their presence in the historical process critical thinking about that process, the threat of their emergence materializes in revolution…One of the methods of manipulation is to inoculate individuals with the bourgeois appetite for personal success. This manipulation is sometimes carried out directly by the elites and sometimes indirectly, through populist leaders.

Cel mai uimitor sentiment din câte cunosc e dorul.Omul are impresia că este total absorbit de realitatea înconjurătoare,acomodat cu mediul,preocupat de noile lui probleme.Și deodată o străfulgerare orbitoare:chipul cuiva,ochii cuiva,ochii și gura cuiva.Le simți cu un realism zguduitor și îți dai seama că tot ce te înconjoară este lipsit de importanță,indiferent,ba chiar dizgrațios.Dizgrațios tocmai de aceea că ne îndepărtează de acele mâini,de acea gură.Cunoști dumneata durerea de inimă,durerea aceea fizică ce ne sfâșie pieptul,scurt și violent?...

Capitalist ideology in general, Zizek maintains, consists precisely in the overvaluing of belief - in the sense of inner subjective attitude - at the expense of the beliefs we exhibit and externalize in our behavior. So long as we believe (in our hearts) that capitalism is bad, we are free to continue to participate in capitalist exchange. According to Zizek, capitalism in general relies on this structure of disavowal. We believe that money is only a meaningless token of no intrinsic worth, yet we act as if it has a holy value. Moreover, this behavior precisely depends upon the prior disavowal - we are able to fetishize money in our actions only because we have already taken an ironic distance towards money in our heads.

Instead of saying that everyone – i.e. every one – is responsible for climate change, we all have to do our bit, it would be better to say that no-one is, and that’s the very problem. The cause of eco-catastrophe is an impersonal structure which, even though it is capable of producing all manner of effects, is precisely not a subject capable of exercising responsibility. The required subject – a collective subject - does not exist, yet the crisis, like all the other global crises we’re now facing, demands that it be constructed.

A crude age. Peace is stabilized with cannon and bombers, humanity with concentration camps and pogroms. We're living in a time when all standards are turned upside-down, Kern. Today the aggressor is the shepherd of peace, and the beaten and hunted are the troublemakers of the world. What's more, there are whole races who believe it!

Instead of accepting the vast privatization of stress that has taken place over the last thirty years, we need to ask: how has it become acceptable that so many people, and especially so many young people, are ill? The ‘mental health plague’ in capitalist societies would suggest that, instead of being the only social system that works, capitalism is inherently dysfunctional, and that the cost of it appearing to work is very high.

Maybe the critics are right. Maybe there's no escaping our great political divide, an endless clash of armies, and any attempts to alter the rules of engagement are futile. Or maybe the trivialization of politics has reached a point of no return, so that most people see it as just one more diversion, a sport, with politicians our paunch-bellied gladiators and those who bother to pay attention just fans on the sidelines: We paint our faces red or blue and cheer our side and boo their side, and if it takes a late hit or cheap shot to beat the other team, so be it, for winning is all that matters. But I don't think so. They are out there, I think to myself, those ordinary citizens who have grown up in the midst of all the political and cultural battles, but who have found a way-in their own lives, at least- to make peace with their neighbors, and themselves. ...I imagine they are waiting for a politics with the maturity to balance idealism and realism, to distinguish between what can and cannot be compromised, to admit the possibility that the other side might sometimes have a point. They don't always understand the arguments between right and left, conservative and liberal, but they recognize the difference between dogma and common sense, responsibility and irresponsibility, between those things that last and those that are fleeting. They are out there, waiting for Republicans and Democrats to catch up with them.

TYRONE [Stares at him -- impressed.] Yes, there's the makings of a poet in you all right. [Then protesting uneasily] But that's morbid craziness about not being wanted and loving death. EDMUND [Sardonically] The makings of a poet. No, I'm afraid I'm like the guy who is always panhandling for a smoke. He hasn't even got the makings. He's got only the habit. I couldn't touch what I tried to tell you just now. I just stammered. That's the best I'll ever do, I mean, if I live. Well, it will be faithful realism, at least. Stammering is the native eloquence of us fog people.

[W]hat counts as ‘realistic’, what seems possible at any point in the social field, is defined by a series of political determinations. An ideological position can never be really successful until it is naturalized, and it cannot be naturalized while it is still thought of as a value rather than a fact. Accordingly, neoliberalism has sought to eliminate the very category of value in the ethical sense. Over the past thirty years, capitalist realism has successfully installed a ‘business ontology’ in which it is simply obvious that everything in society, including healthcare and education, should be run as a business. … [E]mancipatory politics must always destroy the appearance of a ‘natural order’, must reveal what is presented as necessary and inevitable to be a mere contingency, just as it must make what was previously deemed to be impossible seem attainable.

The artist is the creator of beautiful things. To reveal art and conceal the artist is art's aim. The critic is he who can translate into another manner or a new material his impression of beautiful things. The highest as the lowest form of criticism is a mode of autobiography. Those who find ugly meanings in beautiful things are corrupt without being charming. This is a fault. Those who find beautiful meanings in beautiful things are the cultivated. For these there is hope. They are the elect to whom beautiful things mean only beauty. There is no such thing as a moral or an immoral book. Books are well written, or badly written. That is all. The nineteenth century dislike of realism is the rage of Caliban seeing his own face in a glass. The nineteenth century dislike of romanticism is the rage of Caliban not seeing his own face in a glass. The moral life of man forms part of the subject-matter of the artist, but the morality of art consists in the perfect use of an imperfect medium. No artist desires to prove anything. Even things that are true can be proved. No artist has ethical sympathies. An ethical sympathy in an artist is an unpardonable mannerism of style. No artist is ever morbid. The artist can express everything. Thought and language are to the artist instruments of an art. Vice and virtue are to the artist materials for an art. From the point of view of form, the type of all the arts is the art of the musician. From the point of view of feeling, the actor's craft is the type. All art is at once surface and symbol. Those who go beneath the surface do so at their peril. Those who read the symbol do so at their peril. It is the spectator, and not life, that art really mirrors. Diversity of opinion about a work of art shows that the work is new, complex, and vital. When critics disagree, the artist is in accord with himself. We can forgive a man for making a useful thing as long as he does not admire it. The only excuse for making a useless thing is that one admires it intensely. All art is quite useless.

The ideological blackmail that has been in place since the original Live Aid concerts in 1985 has insisted that ‘caring individuals’ could end famine directly, without the need for any kind of political solution or systemic reorganization. It is necessary to act straight away, we were told; politics has to be suspended in the name of ethical immediacy. Bono’s Product Red brand wanted to dispense even with the philanthropic intermediary. ‘Philanthropy is like hippy music, holding hands’, Bono proclaimed. ‘Red is more like punk rock, hip hop, this should feel like hard commerce’. The point was not to offer an alternative to capitalism - on the contrary, Product Red’s ‘punk rock’ or ‘hip hop’ character consisted in its ‘realistic’ acceptance that capitalism is the only game in town. No, the aim was only to ensure that some of the proceeds of particular transactions went to good causes. The fantasy being that western consumerism, far from being intrinsically implicated in systemic global inequalities, could itself solve them. All we have to do is buy the right products.

In the language of the day it is customary to describe a certain sort of book as “escapist” literature. As I understand it, the adjective implies, a little condescendingly, that the life therein depicted cannot be identified with the real life which the critic knows so well in W.C.1: and may even have the disastrous effect on the reader of taking him happily for a few hours out of his own real life in N.W.8. Why this should be a matter for regret I do not know; nor why realism in a novel is so much admired when realism in a picture is condemned as mere photography; nor, I might add, why drink and fornication should seem to bring the realist closer to real life than, say, golf and gardening.

A Dickens character to me is a theatrical projection of a character. Not that it isn't real. It's real, but in that removed sense. But Sherlock Holmes is simply there. I would be astonished if I went to 221 1/2 B Baker Street and didn't find him." [An Invitation to Learning, January 1942]

Then with alcoholic talkativeness You've just told me some high spots in your memories. Want to hear mine? They're all connected with the sea. Here's one. When I was on the Squarehead square rigger, bound for Buenos Aires. Full moon in the Trades. The old hooker driving fourteen knots. I lay on the bowsprit, facing astern, with the water foaming into spume under me, the masts with every sail white in the moonlight, towering high above me. I became drunk with the beauty and signing rhythm of it, and for a moment I lost myself -- actually lost my life. I was set free! I dissolved in the sea, became white sails and flying spray, became beauty and rhythm, became moonlight and the ship and the high dim-starred sky! I belonged, without past or future, within peace and unity and a wild joy, within something greater than my own life, or the life of Man, to Life itself! To God, if you want to put it that way. Then another time, on the American Line, when I was lookout on the crow's nest in the dawn watch. A calm sea, that time. Only a lazy ground swell and a slow drowsy roll of the ship. The passengers asleep and none of the crew in sight. No sound of man. Black smoke pouring from the funnels behind and beneath me. Dreaming, not keeping looking, feeling alone, and above, and apart, watching the dawn creep like a painted dream over the sky and sea which slept together. Then the moment of ecstatic freedom came. the peace, the end of the quest, the last harbor, the joy of belonging to a fulfillment beyond men's lousy, pitiful, greedy fears and hopes and dreams! And several other times in my life, when I was swimming far out, or lying alone on a beach, I have had the same experience. Became the sun, the hot sand, green seaweed anchored to a rock, swaying in the tide. Like a saint's vision of beatitude. Like a veil of things as they seem drawn back by an unseen hand. For a second you see -- and seeing the secret, are the secret. For a second there is meaning! Then the hand lets the veil fall and you are alone, lost in the fog again, and you stumble on toward nowhere, for no good reason! *He grins wryly. It was a great mistake, my being born a man, I would have been much more successful as a sea gull or a fish. As it is, I will always be a stranger who never feels at home, who does not really want and is not really wanted, who can never belong, who must always be a a little in love with death! TYRONE *Stares at him -- impressed. Yes, there's the makings of a poet in you all right. *Then protesting uneasily. But that's morbid craziness about not being wanted and loving death. EDMUND *Sardonically The *makings of a poet. No, I'm afraid I'm like the guy who is always panhandling for a smoke. He hasn't even got the makings. He's got only the habit. I couldn't touch what I tried to tell you just now. I just stammered. That's the best I'll ever do, I mean, if I live. Well, it will be faithful realism, at least. Stammering is the native eloquence of us fog people.

On the morning appointed for her departure Tess awoke before dawn — at the marginal minute of the dark when the grove is still mute save for one prophetic bird, who sings with a clear-voiced conviction that he at least knows the correct time of day, the rest preserving silence, as if equally convinced that he is mistaken.

If capitalist realism is so seamless, and if current forms of resistance are so hopeless and impotent, where can an effective challenge come from? A moral critique of capitalism, emphasizing the ways in which it leads to suffering, only reinforces capitalist realism. Poverty, famine and war can be presented as an inevitable part of reality, while the hope that these forms of suffering could be eliminated easily painted as naive utopianism. Capitalist realism can only be threatened if it is shown to be in some way inconsistent or untenable; if, that is to say, capitalism's ostensible 'realism' turns out to be nothing of the sort.

If, then, something like attention deficit hyperactivity disorder is a pathology, it is a pathology of late capitalism – a consequence of being wired into the entertainment-control circuits of hyperme-diated consumer culture. Similarly, what is called dyslexia may in many cases amount to a post-lexia. Teenagers process capital’s image-dense data very effectively without any need to read –slogan-recognition is sufficient to navigate the net-mobile-magazine informational plane. ‘Writing has never been capitalism’s thing. Capitalism is profoundly illiterate’, Deleuze

Yes, yes," he shut off her attempted objection. "You would have destroyed my writing and my career. Realism is imperative to my nature, and the bourgeois spirit hates realism. The bourgeoisie is cowardly. It is afraid of life. And all your effort was to make me afraid of life. You would have formalized me. You would have compressed me into a two-by-four pigeonhole of life, where all life's values are unreal and false and vulgar." He felt her stir protestingly. "Vulgarity--a heart of vulgarity, I'll admit--is the basis of bourgeois refinement and culture. As I say, you wanted to formalize me to make me over into one of your own class, with your class ideas, class values and class prejudices.

But when fundamentals are doubted, as at present, we must try to recover the candour and wonder of the child; the unspoilt realism and objectivity of innocence. Or if we cannot do that, we must try at least to shake off the cloud of mere custom and see the thing as new, if only by seeing it as unnatural. Things that may well be familiar so long as familiarity breeds affection had much better become unfamiliar when familiarity breeds contempt. For in connection with things so great as are here considered, whatever our view of them, contempt must be a mistake. Indeed contempt must be an illusion. We must invoke the most wild and soaring sort of imagination; the imagination that can see what is there.

Everyone knows how to cook parasols—you soak them in milk, then dip them in egg and breadcrumbs and fry them until they're brown as chops. You can do the same thing with a panther amanita that smells of nuts, but people don't pick amanitas. They divide mushrooms into poisonous and edible, and the guidebooks discuss the features that allow you to tell the difference—as if there are good mushrooms and bad mushrooms. No mushroom book separates them into beautiful and ugly, fragrant and stinking, nice to touch and nasty, or those that induce sin and those that absolve it. People see what they want to see, and in the end they get what they want—clear, but false divisions. Meanwhile, in the world of mushrooms, nothing is certain.

If falling in love is not love, then what is it other than a temporary and partial collapse of ego boundaries? I do not know. But the sexual specificity of the phenomenon leads me to suspect that it is a genetically determined instinctual component of mating behavior. In other words, the temporary collapse of ego boundaries that constitutes falling in love is a stereotypic response of human beings to a configuration of internal sexual drives and external sexual stimuli, which serves to increase the probability of sexual pairing and bonding so as to enhance the survival of the species. Or to put it in another, rather crass way, falling in love is a trick that our genes pull on our otherwise perceptive mind to hoodwink or trap us into marriage. Frequently the trick goes awry one way or another, as when the sexual drives and stimuli are homosexual or when other forces-parental interference, mental illness, conflicting responsibilities or mature self-disciplinesupervene to prevent the bonding. On the other hand, without this trick, this illusory and inevitably temporary (it would not be practical were it not temporary) regression to infantile merging and omnipotence, many of us who are happily or unhappily married today would have retreated in whole- hearted terror from the realism of the marriage vows.

Fukuyama’s thesis that history has climaxed with liberal capitalism may have been widely derided, but it is accepted, even assumed, at the level of the cultural unconscious. It should be remembered, though, that even when Fukuyama advanced it, the idea that history had reached a ‘terminal beach’ was not merely triumphalist. Fukuyama warned that his radiant city would be haunted, but he thought its specters would be Nietzschean rather than Marxian. Some of Nietzsche’s most prescient pages are those in which he describes the ‘oversaturation of an age with history’. ‘It leads an age into a dangerous mood of irony in regard to itself’, he wrote in Untimely Meditations, ‘and subsequently into the even more dangerous mood of cynicism’, in which ‘cosmopolitan fingering’, a detached spectatorialism, replaces engagement and involvement. This is the condition of Nietzsche’s Last Man, who has seen everything, but is decadently enfeebled precisely by this excess of (self) awareness.

A stout, middle-aged man, with enormous owl-eyed spectacles, was sitting somewhat drunk on the edge of a great table, staring with unsteady concentration at the shelves of books. As we entered he wheeled excitedly around and examined Jordan from head to foot. “What do you think?” he demanded impetuously. “About what?” He waved his hand toward the book-shelves. “About that. As a matter of fact you needn’t bother to ascertain. I ascertained. They’re real.” “The books?” He nodded. “Absolutely real — have pages and everything. I thought they’d be a nice durable cardboard. Matter of fact, they’re absolutely real. Pages and — Here! Lemme show you.” Taking our scepticism for granted, he rushed to the bookcases and returned with Volume One of the “Stoddard Lectures.” “See!” he cried triumphantly. “It’s a bona-fide piece of printed matter. It fooled me. This fella’s a regular Belasco. It’s a triumph. What thoroughness! What realism! Knew when to stop, too — didn’t cut the pages. But what do you want? What do you expect?

The flimsy little protestations that mark the front gate of every novel, the solemn statements that any resemblance to real persons living or dead is entirely coincidental, are fraudulent every time. A writer has no other material to make his people from than the people of his experience ... The only thing the writer can do is to recombine parts, suppress some characterisitics and emphasize others, put two or three people into one fictional character, and pray the real-life prototypes won't sue.

However much the theory of political realism may have been misunderstood and misinterpreted, there is no gainsaying its distinctive intellectual and moral attitude to matters political. Intellectually, the political realist maintains the autonomy of the political sphere, as the economist, the lawyer, the moralist maintain theirs. He thinks in terms of interest defined as power, as the economist thinks in terms of interest defined as wealth; the lawyer, of the conformity of action with legal rules; the moralist, of the conformity of action with moral principles. The economist asks: "How does this policy affect the wealth of society, or a segment of it?" The lawyer asks: "Is this policy in accord with the rules of law?" The moralist asks: "Is this policy in accord with moral principles?" And the political realist asks: "How does this policy affect the power of the nation?

Political realism refuses to identify the moral aspirations of a particular nation with the moral laws that govern the universe. As it distinguishes between truth and opinion, so it distinguishes between truth and idolatry. All nations are tempted — and few have been able to resist the power for long — to clothe their own aspirations and action in the moral purposes of the universe. To know that nations are subject to the moral law is one thing, while to pretend to know with certainty what is good and evil in the relations among nations is quite another. There is a world of difference between the belief that all nations stand under the judgment of God, inscrutable to the human mind, and the blasphemous conviction that God is always on one's side and that what one wills oneself cannot fail to be willed by God also. The lighthearted equation between a particular nationalism and the counsels of Providence is morally indefensible, for it is that very sin of pride against which the Greek tragedians and the Biblical prophets have warned rulers and ruled. That equation is also politically pernicious, for it is liable to engender the distortion in judgment which, in the blindness of crusading frenzy, destroys nations and civilizations - in the name of moral principle, ideal, or God himself.

The idealized market was supposed to deliver ‘friction free’ exchanges, in which the desires of consumers would be met directly, without the need for intervention or mediation by regulatory agencies. Yet the drive to assess the performance of workers and to measure forms of labor which, by their nature, are resistant to quantification, has inevitably required additional layers of management and bureaucracy. What we have is not a direct comparison of workers’ performance or output, but a comparison between the audited representation of that performance and output. Inevitably, a short-circuiting occurs, and work becomes geared towards the generation and massaging of representations rather than to the official goals of the work itself. Indeed, an anthropological study of local government in Britain argues that ‘More effort goes into ensuring that a local authority’s services are represented correctly than goes into actually improving those services’. This reversal of priorities is one of the hallmarks of a system which can be characterized without hyperbole as ‘market Stalinism’. What late capitalism repeats from Stalinism is just this valuing of symbols of achievement over actual achievement. […] It would be a mistake to regard this market Stalinism as some deviation from the ‘true spirit’ of capitalism. On the contrary, it would be better to say that an essential dimension of Stalinism was inhibited by its association with a social project like socialism and can only emerge in a late capitalist culture in which images acquire an autonomous force. The way value is generated on the stock exchange depends of course less on what a company ‘really does’, and more on perceptions of, and beliefs about, its (future) performance. In capitalism, that is to say, all that is solid melts into PR, and late capitalism is defined at least as much by this ubiquitous tendency towards PR-production as it is by the imposition of market mechanisms.

That a work of the imagination has to be “really” about some problem is, again, an heir of Socialist Realism. To write a story for the sake of storytelling is frivolous, not to say reactionary. The demand that stories must be “about” something is from Communist thinking and, further back, from religious thinking, with its desire for self-improvement books as simple-minded as the messages on samplers. The phrase “political correctness” was born as Communism was collapsing. I do not think this was chance. I am not suggesting that the torch of Communism has been handed on to the political correctors. I am suggesting that habits of mind have been absorbed, often without knowing it. There is obviously something very attractive about telling other people what to do: I am putting it in this nursery way rather than in more intellectual language because I see it as nursery behavior. Art — the arts generally — are always unpredictable, maverick, and tend to be, at their best, uncomfortable. Literature, in particular, has always inspired the House committees, the Zhdanovs, the fits of moralizing, but, at worst, persecution. It troubles me that political correctness does not seem to know what its exemplars and predecessors are; it troubles me more that it may know and does not care. Does political correctness have a good side? Yes, it does, for it makes us re-examine attitudes, and that is always useful. The trouble is that, with all popular movements, the lunatic fringe so quickly ceases to be a fringe; the tail begins to wag the dog. For every woman or man who is quietly and sensibly using the idea to examine our assumptions, there are 20 rabble-rousers whose real motive is desire for power over others, no less rabble-rousers because they see themselves as anti-racists or feminists or whatever.

he saw and recognised the visible and he sought his place in this world. He did not seek reality; his goal was not on any other side. The world was beautiful when looked at in this way - without any seeking, so simple, so childlike. The moon and stars were beautiful, the brook, the shore, the forest and rock, the goat and the golden beetle, the flower and butterfly were beautiful. It was beautiful and pleasant to go through the world like that, so childlike, so awakened, so concerned with the immediate, without any distrust.

One of the most brilliant Russian writers of the twentieth century, Yevgeny Zamyatin belongs to the tradition in Russian literature represented by Gogol, Leskov, Bely, Remizov, and, in certain aspects of their work, also by Babel and Bulgakov. It is a tradition, paradoxically, of experimenters and innovators. Perhaps the principal quality that unites them is their approach to reality and its uses in art - the refusal to be bound by literal fact, the interweaving of reality and fantasy, the transmutation of fact into poetry, often grotesque, oblique, playful, but always expressive of the writer's unique vision of life in his own, unique terms.

Most striking about the traditional societies of the Congo was their remarkable artwork: baskets, mats, pottery, copper and ironwork, and, above all, woodcarving. It would be two decades before Europeans really noticed this art. Its discovery then had a strong influence on Braque, Matisse, and Picasso -- who subsequently kept African art objects in his studio until his death. Cubism was new only for Europeans, for it was partly inspired by specific pieces of African art, some of them from the Pende and Songye peoples, who live in the basin of the Kasai River, one of the Congo's major tributaries. It was easy to see the distinctive brilliance that so entranced Picasso and his colleagues at their first encounter with this art at an exhibit in Paris in 1907. In these central African sculptures some body parts are exaggerated, some shrunken; eyes project, cheeks sink, mouths disappear, torsos become elongated; eye sockets expand to cover almost the entire face; the human face and figure are broken apart and formed again in new ways and proportions that had previously lain beyond sight of traditional European realism. The art sprang from cultures that had, among other things, a looser sense than Islam or Christianity of the boundaries between our world and the next, as well as those between the world of humans and the world of beasts. Among the Bolia people of the Congo, for example, a king was chosen by a council of elders; by ancestors, who appeared to him in a dream; and finally by wild animals, who signaled their assent by roaring during a night when the royal candidate was left at a particular spot in the rain forest. Perhaps it was the fluidity of these boundaries that granted central Africa's artists a freedom those in Europe had not yet discovered.

Truth changes with the season of our emotions. It is the shadow that moves with the phases of our inner sun. When the nights falls, only our perception can guess where it hides in the dark. Within every solar system of the soul lies a plan of what truth is--- the design God has created, in our own unique story. This is as varying as the constellations, and as turning as the tide. It is not one truth we live to, but many. If we ever hope to determine if there is such a thing as truth, apart from cultural and personal preferences, we must acknowledge that we are then aiming to discover something greater than ourselves, something that transcends culture and individual inclinations. Some say that we must look beyond ourselves and outside of ourselves. However, we don’t need to look farther than what is already in each other. If there was any great plan from a higher power it is a simplistic, repetitious theme found in all religions; the basic core importance to unity comes from shared theological and humanistic virtues. Beyond the synagogue, mosques, temples, churches, missionary work, church positions and religious rituals comes a simple “message of truth” found in all of us, that binds theology---holistic virtues combined with purpose is the foundation of spiritual evolution. The diversity among us all is not divided truth, but the opportunity for unity through these shared values. Truth is the framework and roadmap of positive virtues. It unifies diversity when we choose to see it and use it. It is simple message often lost among the rituals, cultural traditions and socializing that goes on behind the chapel doors of any religion or spiritual theology. As we fight among ourselves about what religion, culture or race is right, we often lose site of the simple message any great orator has whispered through time----a simplistic story explaining the importance of virtues, which magically reemphasizes the importance of loving one another through service.

To begin with, we have to be more clear about what we mean by patriotic feelings. For a time when I was in high school, I cheered for the school athletic teams. That's a form of patriotism — group loyalty. It can take pernicious forms, but in itself it can be quite harmless, maybe even positive. At the national level, what "patriotism" means depends on how we view the society. Those with deep totalitarian commitments identify the state with the society, its people, and its culture. Therefore those who criticized the policies of the Kremlin under Stalin were condemned as "anti-Soviet" or "hating Russia". For their counterparts in the West, those who criticize the policies of the US government are "anti-American" and "hate America"; those are the standard terms used by intellectual opinion, including left-liberal segments, so deeply committed to their totalitarian instincts that they cannot even recognize them, let alone understand their disgraceful history, tracing to the origins of recorded history in interesting ways. For the totalitarian, "patriotism" means support for the state and its policies, perhaps with twitters of protest on grounds that they might fail or cost us too much. For those whose instincts are democratic rather than totalitarian, "patriotism" means commitment to the welfare and improvement of the society, its people, its culture. That's a natural sentiment and one that can be quite positive. It's one all serious activists share, I presume; otherwise why take the trouble to do what we do? But the kind of "patriotism" fostered by totalitarian societies and military dictatorships, and internalized as second nature by much of intellectual opinion in more free societies, is one of the worst maladies of human history, and will probably do us all in before too long. With regard to the US, I think we find a mix. Every effort is made by power and doctrinal systems to stir up the more dangerous and destructive forms of "patriotism"; every effort is made by people committed to peace and justice to organize and encourage the beneficial kinds. It's a constant struggle. When people are frightened, the more dangerous kinds tend to emerge, and people huddle under the wings of power. Whatever the reasons may be, by comparative standards the US has been a very frightened country for a long time, on many dimensions. Quite commonly in history, such fears have been fanned by unscrupulous leaders, seeking to implement their own agendas. These are commonly harmful to the general population, which has to be disciplined in some manner: the classic device is to stimulate fear of awesome enemies concocted for the purpose, usually with some shreds of realism, required even for the most vulgar forms of propaganda. Germany was the pride of Western civilization 70 years ago, but most Germans were whipped to presumably genuine fear of the Czech dagger pointed at the heart of Germany (is that crazier than the Nicaraguan or Grenadan dagger pointed at the heart of the US, conjured up by the people now playing the same game today?), the Jewish-Bolshevik conspiracy aimed at destroying the Aryan race and the civilization that Germany had inherited from Greece, etc. That's only the beginning. A lot is at stake.

He is all my art to me now," said the painter gravely. "I sometimes think, Harry, that there are only two eras of any importance in the world's history. The first is the appearance of a new medium for art, and the second is the appearance of a new personality for art also. What the invention of oil-painting was to the Venetians, the face of Antinous was to late Greek sculpture, and the face of Dorian Gray will some day be to me. It is not merely that I paint from him, draw from him, sketch from him. Of course, I have done all that. But he is much more to me than a model or a sitter. I won't tell you that I am dissatisfied with what I have done of him, or that his beauty is such that art cannot express it. There is nothing that art cannot express, and I know that the work I have done, since I met Dorian Gray, is good work, is the best work of my life. But in some curious way—I wonder will you understand me?—his personality has suggested to me an entirely new manner in art, an entirely new mode of style. I see things differently, I think of them differently. I can now recreate life in a way that was hidden from me before. 'A dream of form in days of thought'—who is it who says that? I forget; but it is what Dorian Gray has been to me. The merely visible presence of this lad—for he seems to me little more than a lad, though he is really over twenty— his merely visible presence—ah! I wonder can you realize all that that means? Unconsciously he defines for me the lines of a fresh school, a school that is to have in it all the passion of the romantic spirit, all the perfection of the spirit that is Greek. The harmony of soul and body— how much that is! We in our madness have separated the two, and have invented a realism that is vulgar, an ideality that is void. Harry! if you only knew what Dorian Gray is to me! You remember that landscape of mine, for which Agnew offered me such a huge price but which I would not part with? It is one of the best things I have ever done. And why is it so? Because, while I was painting it, Dorian Gray sat beside me. Some subtle influence passed from him to me, and for the first time in my life I saw in the plain woodland the wonder I had always looked for and always missed.

Some years ago I had a conversation with a man who thought that writing and editing fantasy books was a rather frivolous job for a grown woman like me. He wasn’t trying to be contentious, but he himself was a probation officer, working with troubled kids from the Indian reservation where he’d been raised. Day in, day out, he dealt in a concrete way with very concrete problems, well aware that his words and deeds could change young lives for good or ill. I argued that certain stories are also capable of changing lives, addressing some of the same problems and issues he confronted in his daily work: problems of poverty, violence, and alienation, issues of culture, race, gender, and class... “Stories aren’t real,” he told me shortly. “They don’t feed a kid left home in an empty house. Or keep an abusive relative at bay. Or prevent an unloved child from finding ‘family’ in the nearest gang.” Sometimes they do, I tried to argue. The right stories, read at the right time, can be as important as shelter or food. They can help us to escape calamity, and heal us in its aftermath. He frowned, dismissing this foolishness, but his wife was more conciliatory. “Write down the names of some books,” she said. “Maybe we’ll read them.” I wrote some titles on a scrap of paper, and the top three were by Charles de lint – for these are precisely the kind of tales that Charles tells better than anyone. The vital, necessary stories. The ones that can change and heal young lives. Stories that use the power of myth to speak truth to the human heart. Charles de Lint creates a magical world that’s not off in a distant Neverland but here and now and accessible, formed by the “magic” of friendship, art, community, and social activism. Although most of his books have not been published specifically for adolescents and young adults, nonetheless young readers find them and embrace them with particular passion. I’ve long lost count of the number of times I’ve heard people from troubled backgrounds say that books by Charles saved them in their youth, and kept them going. Recently I saw that parole officer again, and I asked after his work. “Gets harder every year,” he said. “Or maybe I’m just getting old.” He stopped me as I turned to go. “That writer? That Charles de Lint? My wife got me to read them books…. Sometimes I pass them to the kids.” “Do they like them?” I asked him curiously. “If I can get them to read, they do. I tell them: Stories are important.” And then he looked at me and smiled.

Dear Jeff, I happened to see the Channel 7 TV program "Hooray for Hollywood" tonight with the segment on Blade Runner. (Well, to be honest, I didn't happen to see it; someone tipped me off that Blade Runner was going to be a part of the show, and to be sure to watch.) Jeff, after looking—and especially after listening to Harrison Ford discuss the film—I came to the conclusion that this indeed is not science fiction; it is not fantasy; it is exactly what Harrison said: futurism. The impact of Blade Runner is simply going to be overwhelming, both on the public and on creative people—and, I believe, on science fiction as a field. Since I have been writing and selling science fiction works for thirty years, this is a matter of some importance to me. In all candor I must say that our field has gradually and steadily been deteriorating for the last few years. Nothing that we have done, individually or collectively, matches Blade Runner. This is not escapism; it is super realism, so gritty and detailed and authentic and goddam convincing that, well, after the segment I found my normal present-day "reality" pallid by comparison. What I am saying is that all of you collectively may have created a unique new form of graphic, artistic expression, never before seen. And, I think, Blade Runner is going to revolutionize our conceptions of what science fiction is and, more, can be. Let me sum it up this way. Science fiction has slowly and ineluctably settled into a monotonous death: it has become inbred, derivative, stale. Suddenly you people have come in, some of the greatest talents currently in existence, and now we have a new life, a new start. As for my own role in the Blade Runner project, I can only say that I did not know that a work of mine or a set of ideas of mine could be escalated into such stunning dimensions. My life and creative work are justified and completed by Blade Runner. Thank you...and it is going to be one hell of a commercial success. It will prove invincible. Cordially, Philip K. Dick

The artist is the creator of beautiful things. To reveal art and conceal the artist is art's aim. The critic is he who can translate into another manner or a new material his impression of beautiful things. The highest as the lowest form of criticism is a mode of autobiography. Those who find ugly meanings in beautiful things are corrupt without being charming. This is a fault. Those who find beautiful meanings in beautiful things are the cultivated. For these there is hope. They are the elect to whom beautiful things mean only beauty. There is no such thing as a moral or an immoral book. Books are well written, or badly written. That is all. The nineteenth century dislike of realism is the rage of Caliban seeing his own face in a glass. The nineteenth century dislike of romanticism is the rage of Caliban not seeing his own face in a glass. The moral life of man forms part of the subject-matter of the artist, but the morality of art consists in the perfect use of an imperfect medium. No artist desires to prove anything. Even things that are true can be proved. No artist has ethical sympathies. An ethical sympathy in an artist is an unpardonable mannerism of style. No artist is ever morbid. The artist can express everything. Thought and language are to the artist instruments of an art. Vice and virtue are to the artist materials for an art. From the point of view of form, the type of all the arts is the art of the musician. From the point of view of feeling, the actor's craft is the type. All art is at once surface and symbol. Those who go beneath the surface do so at their peril. Those who read the symbol do so at their peril. It is the spectator, and not life, that art really mirrors. Diversity of opinion about a work of art shows that the work is new, complex, and vital. When critics disagree, the artist is in accord with himself. We can forgive a man for making a useful thing as long as he does not admire it. The only excuse for making a useless thing is that one admires it intensely. All art is quite useless. OSCAR WILDE

I've nothing against eye make-up and lipstick. But the fact is we're actually living on a planet in space. For me that's an extraordinary thought. It's mind-boggling just to think about the existence of space at all. But there are girls who can't see the universe for eye-liner. And there are probably boys whose eyes are never raised above the horizon because of football. There can be quite a chasm between a small make-up mirror and a proper mirror telescope! I think it's what they call a 'matter of perspective'. Perhaps it could also be called an 'eye-opener' as well. It's never too late to experience an eye-opener. But many people live their entire lives without realizing that they're floating through empty space. There's too much going on down here. It's hard enough thinking about your looks. We belong on this earth. I'm not trying to dispute it. We're part of nature's life on this planet. Monkeys and reptiles have shown us how we breed, and I have no quarrel with that. In different natural surroundings everything might have been very different, but here we are. And I repeat: I'm not denying it. I just don't think that prevent us from trying to see a little beyond the ends of our noses.

More profoundly, Nihilist "simplification" may be seen in the universal prestige today accorded the lowest order of knowledge, the scientific, as well as the simplistic ideas of men like Marx, Freud, and Darwin, which underlie virtually the whole of contemporary thought and life. We say "life," for it is important to see that the Nihilist history of our century has not been something imposed from without or above, or at least has not been predominantly this; it has rather presupposed, and drawn its nourishment from, a Nihilist soil that has long been preparing in the hearts of the people. It is precisely from the Nihilism of the commonplace, from the everyday Nihilism revealed in the life and thought and aspiration of the people, that all the terrible events of our century have sprung. The world-view of Hitler is very instructive in this regard, for in him the most extreme and monstrous Nihilism rested upon the foundation of a quite unexceptional and even typical Realism. He shared the common faith in "science," "progress," and "enlightenment" (though not, of course, in "democracy"), together with a practical materialism that scorned all theology, metaphysics, and any thought or action concerned with any other world than the "here and now," priding himself on the fact that he had "the gift of reducing all problems to their simplest foundations." He had a crude worship of efficiency and utility that freely tolerated "birth control", laughed at the institution of marriage as a mere legalization of a sexual impulse that should be "free", welcomed sterilization of the unfit, despised "unproductive elements" such as monks, saw nothing in the cremation of the dead but a "practical" question and did not even hesitate to put the ashes, or the skin and fat, of the dead to "productive use." He possessed the quasi-anarchist distrust of sacred and venerable institutions, in particular the Church with its "superstitions" and all its "outmoded" laws and ceremonies. He had a naive trust in the "natural mom, the "healthy animal" who scorns the Christian virtues--virginity in particular--that impede the "natural functioning" of the body. He took a simple-minded delight in modern conveniences and machines, and especially in the automobile and the sense of speed and "freedom" it affords. There is very little of this crude Weltanschauung that is not shared, to some degree, by the multitudes today, especially among the young, who feel themselves "enlightened" and "liberated," very little that is not typically "modern.

There's a reason that education sucks. And it's the same reason that it will never ever, ever be fixed. It's never going to get any better, don't look for it, be happy with what you got. Because the owners of this country don't want that. I'm talking about the real owners now. The real owners. The big, wealthy business interests that control things and make all the important decisions. Forget the politicians. The politicians are put there to give you the idea that you have freedom of choice. You don't. You have no choice. You have owners. They own you. They own everything. They own all the important land. They own and control the corporations. They've long since bought and paid for the Senate, the Congress, the state houses, and city halls. They got the judges in their back pocket. And they own all the big media companies so they control just about all of the news and information you get to hear. They got you by the balls. They spend billions of dollars every year lobbying, lobbying to get what they want. Well, we know what they want. They want more for themselves and less for everybody else. But I'll tell you what they don't want. They don't want a population of citizens capable of critical thinking. They don't want well-informed, well-educated people, capable of critical thinking. They're not interested in that. That doesn't help them. That's against their interest. That's right. They don't want people who are smart enough to figure out how badly they're getting fucked by a system that threw them overboard 30 fucking years ago. They don't want that. You know what they want? They want obedient workers. Obedient workers. People who are just smart enough to run the machines and do the paperwork and just dumb enough, to passively accept all these increasingly shittier jobs, with the lower pay, the longer hours, the reduced benefits, the end of overtime, and the vanishing pension that disappears the minute you go to collect it. And now, they're coming for your Social Security money. They want your fucking retirement money. They want it back, so they can give it to their criminal friends on Wall Street. And you know something, they'll get it. They'll get it all from you, sooner or later, because they own this fucking place. It's a big club, and you ain't in it. You and I are not in the big club.

[I]t is a mistake to rush to impose the individual ethical responsibility that the corporate structure deflects. This is the temptation of the ethical which, as Zizek has argued, the capitalist system is using in order to protect itself in the wake of the credit crisis - the blame will be put on supposedly pathological individuals, those’ abusing the system’, rather than on the system itself. But the evasion is actually a two step procedure - since structure will often be invoked (either implicitly or openly) precisely at the point when there is the possibility of individuals who belong to the corporate structure being punished. At this point, suddenly, the causes of abuse or atrocity are so systemic, so diffuse, that no individual can be held responsible… But this impasse - it is only individuals that can be held ethically responsible for actions, and yet the cause of these abuses and errors is corporate, systemic - is not only a dissimulation: it precisely indicates what is lacking in capitalism. What agencies are capable of regulating and controlling impersonal structures? How is it possible to chastise a corporate structure? Yes, corporations can legally be treated as individuals - but the problem is that corporations, whilst certainly entities, are not like individual humans, and any analogy between punishing corporations and punishing individuals will therefore necessarily be poor. And it is not as if corporations are the deep-level agents behind everything; they are themselves constrained by/expressions of the ultimate cause-that-is-not-asubject: Capital.

We are dealing, then, with an absurdity that is not a quirk or an accident, but is fundamental to our character as people. The split between what we think and what we do is profound. It is not just possible, it is altogether to be expected, that our society would produce conservationists who invest in strip-mining companies, just as it must inevitably produce asthmatic executives whose industries pollute the air and vice-presidents of pesticide corporations whose children are dying of cancer. And these people will tell you that this is the way the "real world" works. The will pride themselves on their sacrifices for "our standard of living." They will call themselves "practical men" and "hardheaded realists." And they will have their justifications in abundance from intellectuals, college professors, clergymen, politicians. The viciousness of a mentality that can look complacently upon disease as "part of the cost" would be obvious to any child. But this is the "realism" of millions of modern adults. There is no use pretending that the contradiction between what we think or say and what we do is a limited phenomenon. There is no group of the extra-intelligent or extra-concerned or extra-virtuous that is exempt. I cannot think of any American whom I know or have heard of, who is not contributing in some way to destruction. The reason is simple: to live undestructively in an economy that is overwhelmingly destructive would require of any one of us, or of any small group of us, a great deal more work than we have yet been able to do. How could we divorce ourselves completely and yet responsibly from the technologies and powers that are destroying our planet? The answer is not yet thinkable, and it will not be thinkable for some time -- even though there are now groups and families and persons everywhere in the country who have begun the labor of thinking it. And so we are by no means divided, or readily divisible, into environmental saints and sinners. But there are legitimate distinctions that need to be made. These are distinctions of degree and of consciousness. Some people are less destructive than others, and some are more conscious of their destructiveness than others. For some, their involvement in pollution, soil depletion, strip-mining, deforestation, industrial and commercial waste is simply a "practical" compromise, a necessary "reality," the price of modern comfort and convenience. For others, this list of involvements is an agenda for thought and work that will produce remedies. People who thus set their lives against destruction have necessarily confronted in themselves the absurdity that they have recognized in their society. They have first observed the tendency of modern organizations to perform in opposition to their stated purposes. They have seen governments that exploit and oppress the people they are sworn to serve and protect, medical procedures that produce ill health, schools that preserve ignorance, methods of transportation that, as Ivan Illich says, have 'created more distances than they... bridge.' And they have seen that these public absurdities are, and can be, no more than the aggregate result of private absurdities; the corruption of community has its source in the corruption of character. This realization has become the typical moral crisis of our time. Once our personal connection to what is wrong becomes clear, then we have to choose: we can go on as before, recognizing our dishonesty and living with it the best we can, or we can begin the effort to change the way we think and live.

But Rousseau — to what did he really want to return? Rousseau, this first modern man, idealist and rabble in one person — one who needed moral "dignity" to be able to stand his own sight, sick with unbridled vanity and unbridled self-contempt. This miscarriage, couched on the threshold of modern times, also wanted a "return to nature"; to ask this once more, to what did Rousseau want to return? I still hate Rousseau in the French Revolution: it is the world-historical expression of this duality of idealist and rabble. The bloody farce which became an aspect of the Revolution, its "immorality," is of little concern to me: what I hate is its Rousseauan morality — the so-called "truths" of the Revolution through which it still works and attracts everything shallow and mediocre. The doctrine of equality! There is no more poisonous poison anywhere: for it seems to be preached by justice itself, whereas it really is the termination of justice. "Equal to the equal, unequal to the unequal" — that would be the true slogan of justice; and also its corollary: "Never make equal what is unequal." That this doctrine of equality was surrounded by such gruesome and bloody events, that has given this "modern idea" par excellence a kind of glory and fiery aura so that the Revolution as a spectacle has seduced even the noblest spirits. In the end, that is no reason for respecting it any more. I see only one man who experienced it as it must be experienced, with nausea — Goethe. Goethe — not a German event, but a European one: a magnificent attempt to overcome the eighteenth century by a return to nature, by an ascent to the naturalness of the Renaissance — a kind of self-overcoming on the part of that century. He bore its strongest instincts within himself: the sensibility, the idolatry of nature, the anti-historic, the idealistic, the unreal and revolutionary (the latter being merely a form of the unreal). He sought help from history, natural science, antiquity, and also Spinoza, but, above all, from practical activity; he surrounded himself with limited horizons; he did not retire from life but put himself into the midst of it; he if was not fainthearted but took as much as possible upon himself, over himself, into himself. What he wanted was totality; he fought the mutual extraneousness of reason, senses, feeling, and will (preached with the most abhorrent scholasticism by Kant, the antipode of Goethe); he disciplined himself to wholeness, he created himself. In the middle of an age with an unreal outlook, Goethe was a convinced realist: he said Yes to everything that was related to him in this respect — and he had no greater experience than that ens realissimum [most real being] called Napoleon. Goethe conceived a human being who would be strong, highly educated, skillful in all bodily matters, self-controlled, reverent toward himself, and who might dare to afford the whole range and wealth of being natural, being strong enough for such freedom; the man of tolerance, not from weakness but from strength, because he knows how to use to his advantage even that from which the average nature would perish; the man for whom there is no longer anything that is forbidden — unless it be weakness, whether called vice or virtue. Such a spirit who has become free stands amid the cosmos with a joyous and trusting fatalism, in the faith that only the particular is loathesome, and that all is redeemed and affirmed in the whole — he does not negate anymore. Such a faith, however, is the highest of all possible faiths: I have baptized it with the name of Dionysus. 50 One might say that in a certain sense the nineteenth century also strove for all that which Goethe as a person had striven for: universality in understanding and in welcoming, letting everything come close to oneself, an audacious realism, a reverence for everything factual.

The closest that most of us come to a direct experience of the centerlessness of capitalism is an encounter with the call center. As a consumer in late capitalism, you increasingly exist in two, distinct realities: the one in which the services are provided without hitch, and another reality entirely, the crazed Kafkaesque labyrinth of call centers, a world without memory, where cause and effect connect together in mysterious, unfathomable ways, where it is a miracle that anything ever happens, and you lose hope of ever passing back over to the other side, where things seem to function smoothly. What exemplifies the failure of the neoliberal world to live up to its own PR better than the call center? Even so, the universality of bad experiences with call centers does nothing to unsettle the operating assumption that capitalism is inherently efficient, as if the problems with call centers weren’t the systemic consequences of a logic of Capital which means organizations are so fixated on making profits that they can’t actually sell you anything. The call center experience distils the political phenomenology of late capitalism: the boredom and frustration punctuated by cheerily piped PR, the repeating of the same dreary details many times to different poorly trained and badly informed operatives, the building rage that must remain impotent because it can have no legitimate object, since – as is very quickly clear to the caller –there is no-one who knows, and no-one who could do anything even if they could. Anger can only be a matter of venting; it is aggression in a vacuum, directed at someone who is a fellow victim of the system but with whom there is no possibility of communality. Just as the anger has no proper object, it will have no effect. In this experience of a system that is unresponsive, impersonal, centerless, abstract and fragmentary, you are as close as you can be to confronting the artificial stupidity of Capital in itself. Call center angst is one more illustration of the way that Kafka is poorly understood as exclusively a writer on totalitarianism; a decentralized, market Stalinist bureaucracy is far more Kafkaesque than one in which there is a central authority. Read, for instance, the bleak farce of K’s encounter with the telephone system in the Castle, and it is hard not to see it as uncannily prophetic of the call center experience.