Recognizable Quotes

Believe me, I'm no romantic, and while I've heard all about love at first sight, I've never believed in it, and I still don't. But even so, there was something there, something recognizably real, and I couldn't look away.

You are avake, yah?" said a voice in a horribly recognizable accent. "Yah," I muttered, rubbing my head. "And you are still a jerk, yah?

The History of every major Galactic Civilization tends to pass through three distinct and recognizable phases, those of Survival, Inquiry and Sophistication, otherwise known as the How, Why, and Where phases. For instance, the first phase is characterized by the question 'How can we eat?' the second by the question 'Why do we eat?' and the third by the question 'Where shall we have lunch?

You can tell yourself that you would be willing to lose everything you have in order to get something you want. But it's a catch-22: all of those things you're willing to lose are what make you recognizable. Lose them, and you've lost yourself.

Black’s gaunt face broke into the first true smile Harry had seen upon it. The difference it made was startling, as though a person ten years younger were shining through the starved mask; for a moment, he was recognizable as the man who had laughed at Harry’s parents’ wedding.

I admired how she knew, well before I did, that the point of a child is not what you hope he will accomplish in your name but the pleasure that he will bring you, whatever form it comes in, even if it is a form that is barely recognizable as pleasure at all - and more important, the pleasure you will be privileged to bring him.

Here's a secret: Everyone, if they live long enough, will lose their way at some point. You will lose your way, you will wake up one morning and find yourself lost. This is a hard, simple truth. If it hasn't happened to you yet, consider yourself lucky. When it does, when one day you look around and nothing is recognizable, when you find yourself alone in a dark wood having lost the way, you may find it easier to blame it on someone else -- an errant lover, a missing father, a bad childhood -- or it may be easier to blame the map you were given -- folded too many times, out-of-date, tiny print -- but mostly, if you are honest, you will only be able to blame yourself. One day I'll tell my daughter a story about a dark time, the dark days before she was born, and how her coming was a ray of light. We got lost for a while, the story will begin, but then we found our way.

How was it possible to wake up every day and be recognizable to another when so often one was barely recognizable to oneself?

If what's always distinguished bad writing--flat characters, a narrative world that's clichéd and not recognizably human, etc.--is also a description of today's world, then bad writing becomes an ingenious mimesis of a bad world. If readers simply believe the world is stupid and shallow and mean, then [Bret] Ellis can write a mean shallow stupid novel that becomes a mordant deadpan commentary on the badness of everything. Look man, we'd probably most of us agree that these are dark times, and stupid ones, but do we need fiction that does nothing but dramatize how dark and stupid everything is? In dark times, the definition of good art would seem to be art that locates and applies CPR to those elements of what's human and magical that still live and glow despite the times' darkness. Really good fiction could have as dark a worldview as it wished, but it'd find a way both to depict this world and to illuminate the possibilities for being alive and human in it. Postmodern irony and cynicism's become an end in itself, a measure of hip sophistication and literary savvy. Few artists dare to try to talk about ways of working toward redeeming what's wrong, because they'll look sentimental and naive to all the weary ironists. Irony's gone from liberating to enslaving. There's some great essay somewhere that has a line about irony being the song of the prisoner who's come to love his cage… The postmodern founders' patricidal work was great, but patricide produces orphans, and no amount of revelry can make up for the fact that writers my age have been literary orphans throughout our formative years. We enter a spiritual puberty where we snap to the fact that the great transcendent horror is loneliness, excluded encagement in the self. Once we’ve hit this age, we will now give or take anything, wear any mask, to fit, be part-of, not be Alone, we young. The U.S. arts are our guide to inclusion. A how-to. We are shown how to fashion masks of ennui and jaded irony at a young age where the face is fictile enough to assume the shape of whatever it wears. And then it’s stuck there, the weary cynicism that saves us from gooey sentiment and unsophisticated naïveté. Sentiment equals naïveté on this continent. You burn with hunger for food that does not exist. A U. S. of modern A. where the State is not a team or a code, but a sort of sloppy intersection of desires and fears, where the only public consensus a boy must surrender to is the acknowledged primacy of straight-line pursuing this flat and short-sighted idea of personal happiness.

I survived by keeping my emotions in check – by maintaining my composure and tucking it all away. I managed to stay under the radar, skating through school without anyone truly remembering I was here. My teachers acknowledged my academic successes and my coaches depended upon my athletic abilities, but I wasn’t important enough to make a recognizable social contribution. I was easily forgettable. That’s what I counted on.

The only recognizable feature of hope is action.

Her last painting was of you, slouching against the front door: only your drowning I-had-a-lousy-Third-World-childhood-and-all-I-got-was-this-attitude eyes recognizable.

But the color of a Negro's skin makes him easily recognizable, makes him suspect, converts him into a defenseless target

[H]istory viewed from the inside is always a dark, digestive mess, far different from the easily recognizable cow viewed from afar by historians.

The Earth should not be cut up into hundreds of different sections, each inhabited by a self-defined segment of humanity that considers its own welfare and its own "national security" to be paramount above all other consideration. I am all for cultural diversity and would be willing to see each recognizable group value its cultural heritage. I am a New York patriot, for instance, and if I lived in Los Angeles, I would love to get together with other New York expatriates and sing "Give My Regards to Broadway." This sort of thing, however, should remain cultural and benign. I'm against it if it means that each group despises others and lusts to wipe them out. I'm against arming each little self-defined group with weapons with which to enforce its own prides and prejudices. The Earth faces environmental problems right now that threaten the imminent destruction of civilization and the end of the planet as a livable world. Humanity cannot afford to waste its financial and emotional resources on endless, meaningless quarrels between each group and all others. there must be a sense of globalism in which the world unites to solve the real problems that face all groups alike. Can that be done? The question is equivalent to: Can humanity survive? I am not a Zionist, then, because I don't believe in nations, and because Zionism merely sets up one more nation to trouble the world. It sets up one more nation to have "rights" and "demands" and "national security" and to feel it must guard itself against its neighbors. There are no nations! There is only humanity. And if we don't come to understand that right soon, there will be no nations, because there will be no humanity.

People who have recently lost someone have a certain look, recognizable maybe only to those who have seen that look on their own faces. I have noticed it on my face and I notice it now on others. The look is one of extreme vulnerability, nakedness, openness. It is the look of someone who walks from the ophthalmologist's office into the bright daylight with dilated eyes, or of someone who wears glasses and is suddenly made to take them off. These people who have lost someone look naked because they think themselves invisible. I myself felt invisible for a period of time, incorporeal. I seemed to have crossed one of those legendary rivers that divide the living from the dead, entered a place in which I could be seen only by those who were themselves recently bereaved. I understood for the first time the power in the image of the rivers, the Styx, the Lethe, the cloaked ferryman with his pole. I understood for the first time the meaning in the practice of suttee. Widows did not throw themselves on the burning raft out of grief. The burning raft was instead an accurate representation of the place to which their grief (not their families, not the community, not custom, their grief) had taken them.

And when her eyes met mine, I felt something click, like a key turning in a lock. Believe me, I'm no romantic, and while I've heard about love at first sight, I've never believed in it, and I still don't. But even so, there was something there, something recognizably real, and I couldn't look away.

I soon discovered that one doesn't simply read Crime and Punishment or A Tree Grows in Brooklyn. One reads a certain edition, a specific copy, recognizable by the roughness or the smoothness of its paper, by its scent, by a slight tear on page 72 and a coffee ring on the right-hand corner of the back cover.

You are a stolen painting, Kuwei. Too recognizable to sell on the open market, too valuable to leave lying around. You are worthless to me.

White Sky. Trees fading at the skyline, the mountains gone. My hands dangled from the cuffs of my jacket as if they weren’t my own. I never got used to the way the horizon there could just erase itself and leave you marooned, adrift, in an incomplete dreamscape that was like a sketch for the world you knew -the outline of a single tree standing in for a grove, lamp-posts and chimneys floating up out of context before the surrounding canvas was filled in-an amnesia-land, a kind of skewed Heaven where the old landmarks were recognizable but spaced too far apart, and disarranged, and made terrible by the emptiness around them.

I wanted to write in Kitchenese, the secret language of cooks, instantly recognizable to anyone who has ever dunked french fries for a summer job or suffered under the despotic rule of a tyrannical chef or boobish owner.

This is an inevitable and easily recognizable stage in every revolutionary movement: reformers must expect to be disowned by those who are only too happy to enjoy what has been won for them.

Here and there is born a Saint Theresa, foundress of nothing, whose loving heart-beats and sobs after an unattained goodness tremble off and are dispersed among hindrances, instead of centring in some long-recognizable deed.

This singularity of meaning--I was my face, I was ugliness--though sometimes unbearable, also offered a possible point of escape. It became the launching pad from which to lift off, the one immediately recognizable place to point to when asked what was wrong with my life. Everything led to it, everything receded from it--my face as personal vanishing point.

Sanity, as the project of keeping ourselves recognizably human, therefore has to limit the range of human experience. To keep faith with recognition we have to stay recognizable. Sanity, in other words, becomes a pressing preoccupation as soon as we recognize the importance of recognition. When we define ourselves by what we can recognize, by what we can comprehend- rather than, say, by what we can describe- we are continually under threat from what we are unwilling and/or unable to see. We are tyrannized by our blind spots, and by whatever it is about ourselves that we find unacceptable.

Depersonalization like the deposing of useless individuality— the loss of everything that can be lost, while still being. To take away from yourself little by little, with an effort so attentive that no pain is felt, to take away from yourself like one who gets free of her own skim, her own characteristics. Everything that characterizes me is just the way I am most easily viewed by others and end up being superficially recognizable to myself.

Duck love is recognizable in any language.

Our shared world is humanly unquantifiable and ideologically confused. Which one of them is capable of implementing the most recognizable harm or good?

The fact is, I was sick, but not in an easily explained flu kind of way. It's my experience that people are a lot more sympathetic if they can see you hurting, and for the millionth time in my life I wish for measles or smallpox or some other recognizable disease just to make it simple for me and also for them. Anything would be better than the truth.

Why do I write? Out of fear. Out of fear that the memory of the people I write about might go lost. Out of fear that the memory of myself might get lost. Or even just to be shielded by a story, to slip inside a story and stop being recognizable, controllable, subject to blackmail.

Booyah, I will summon the ninja. Oh, and take a lunch break while we burgle." "You're going, too?" "Am I not ninja enough? Are you saying that I lack ninja?" "No, I was just thinking you're a little, uh, recognizable, maybe?" Eve batted her thick eyelashes. "Why, thank you, sweetie. That's the nicest insult I've had today, not counting the jock who said he'd date me but he had a restraining order out for necrophelia.

Everything had started in such sharp detail, each aspect pronounced and clear. Obviously, endings were different. Harder to see, full of shapes that could be one thing or another, with all the things that you were once so sure of suddenly not familiar, if they were even recognizable at all.

How are you in the profession of protecting people without knowing who I am? I’ve been told I have one of the most recognizable faces in the world. (Aiden) Wow…just out of curiosity, when you go to bed at night, do you find yourself ousted off the mattress by that ego? (Leta)

The slaves were simply turned loose without any property. They were easily recognizable. They were black. They were suddenly free to go exploring.

We’d move faster without you.” “I’ll keep up,” Genya countered. “See that you do,” said Mal. “We’ll be entering an area crawling with militias, not to mention the Darkling’s oprichniki. You’re recognizable,” he said to Genya. “So is Tolya, for that matter.” Tamar’s lips twitched. “Would you like to be the one to tell him he can’t come?” Mal considered this. “Maybe we can disguise him as a really big tree.

It is difficult to hate an idea. That requires a certain intellectual discipline and a slightly obsessive, sick mind. There aren’t too many of those. It’s much easier to hate someone with a recognizable face whom we can blame for everything that makes us feel uncomfortable. It doesn’t have to be an individual character. It could be a nation, a race, a group. . .anything.

You know that ‘no weapons at work’ policy?” I asked the twitching and growing hairy monstrosity standing less than ten feet from me. His yellow eyes bored into me with raw animal hatred. There was nothing recognizably human in that look. “I never did like that rule,” I said as I bent down and drew my gun from my ankle holster, put the front sight on the target and rapidly fired all five shots from my snub-nosed .357 Smith & Wesson into Mr. Huffman’s body. God bless Texas.

A light wind blew through here that carried with it scents of sadness and loss, not recognizable odors but smells that corresponded to nothing, chimerical fragrances able to evoke melancholic memories.

Have faith that you will be here, recognizable to yourself, again tomorrow.

Tough to part; lock, stock and barrel. Something remains, like recognizable tastes and smells, which kindle the faculty of memory, yea-pricks the soul.

Translator's Note: When the violin repeats what the piano has just played, it cannot make the same sounds and it can only approximate the same chords. It can, however, make recognizably the same "music", the same air. But it can do so only when it is as faithful to the self-logic of the violin as it is to the self-logic of the piano.

In other words, the unique value of the 'authentic' work of art has its basis in ritual, the location of its original use value. This ritualistic basis, however remote, is still recognizable as secularized ritual even in the most profane forms of the cult of beauty.

Interviewer ...In the case of "American Psycho" I felt there was something more than just this desire to inflict pain--or that Ellis was being cruel the way you said serious artists need to be willing to be. DFW: You're just displaying the sort of cynicism that lets readers be manipulated by bad writing. I think it's a kind of black cynicism about today's world that Ellis and certain others depend on for their readership. Look, if the contemporary condition is hopelessly shitty, insipid, materialistic, emotionally retarded, sadomasochistic, and stupid, then I (or any writer) can get away with slapping together stories with characters who are stupid, vapid, emotionally retarded, which is easy, because these sorts of characters require no development. With descriptions that are simply lists of brand-name consumer products. Where stupid people say insipid stuff to each other. If what's always distinguished bad writing -- flat characters, a narrative world that's cliched and not recognizably human, etc. -- is also a description of today's world, then bad writing becomes an ingenious mimesis of a bad world. If readers simply believe the world is stupid and shallow and mean, then Ellis can write a mean shallow stupid novel that becomes a mordant deadpan commentary on the badness of everything. Look man, we'd probably most of us agree that these are dark times, and stupid ones, but do we need fiction that does nothing but dramatize how dark and stupid everything is? In dark times, the definition of good art would seem to be art that locates and applies CPR to those elements of what's human and magical that still live and glow despite the times' darkness. Really good fiction could have as dark a worldview as it wished, but it'd find a way both to depict this world and to illuminate the possibilities for being alive and human in it. You can defend "Psycho" as being a sort of performative digest of late-eighties social problems, but it's no more than that.

Treasured Pagan Deities were misrepresented and distorted by the Christians for political and religious gain. Dressing their own Satan, who has remained one of the most opressive symbols of evil in our time, in the horned antlers of Cernunnos, a revered Celtic God, was one of the more recognizable ways Christians robbed Pagans of their way of life.

The freeing of an individual, as he grows up, from the authority of his parents is one of the most necessary though one of the most painful results brought about by the course of his development. It is quite essential that that liberation should occur and it may be presumed that it has been to some extent achieved by everyone who has reached a normal state. Indeed, the whole progress of society rests upon the opposition between successive generations. On the other hand, there is a class of neurotics whose condition is recognizably determined by their having failed in this task.

I'm sorry," I heard him say again. Then, out of the corner of my eye, I saw a sudden blur of movement as he slid out of his seat, left some bills for the breakfast he wouldn't eat, and walked away. And as he did, I thought again of those mornings in the hallway at school, way back in ninth grade. Everything had started in such sharp detail, each aspect pronounced and clear. Obviously, endings were different. Harder to see, full of shapes that could be one thing or another, with all the things that you were once so sure of suddenly not familiar, if they were even recognizable at all.

...It would hardly be a waste of time if sometimes even the most advanced students in the cognitive sciences were to pay a visit to their ancestors. It is frequently claimed in American philosophy departments that, in order to be a philosopher, it is not necessary to revisit the history of philosophy. It is like the claim that one can become a painter without having ever seen a single work by Raphael, or a writer without having ever read the classics. Such things are theoretically possible; but the 'primitive' artist, condemned to an ignorance of the past, is always recognizable as such and rightly labeled as naïf. It is only when we consider past projects revealed as utopian or as failures that we are apprised of the dangers and possibilities for failure for our allegedly new projects. The study of the deeds of our ancestors is thus more than an atiquarian pastime, it is an immunological precaution.

Alma is in a painting phase, and the people she paints are all the color of mold, look like they've just been dredged from the bottom of a lake. Her last painting was of you, slouching against the front door: only your frowning I-had-a-lousy-Third-World-childhood-and-all-I-got-was-this-attitude eyes recognizable.

Fragments of a vessel which are to be glued together must match one another in the smallest details, although they need not be like one another. In the same way a translation, instead of resembling the meaning of the original, must lovingly and in detail incorporate the original's mode of signification, thus making both the original and the translation recognizable as fragments of a greater language, just as fragments are part of a vessel.

But there's a sacredness which is not of thought, nor of a feeling resuscitated by thought. It is not recognizable by thought nor can it be utilized by thought. Thought cannot formulate it. But there's a sacredness, untouched by any symbol or word. It is not communicable. It is a fact.

Among men who rise to fame and leadership two types are recognizable-those who are born with a belief in themselves and those in whom it is a slow growth dependent on actual achievement. To men of the last type their own success is a constant surprise, and its fruits the more delicious, yet to be tested cautiously with a haunting sense of doubt whether it is not all a dream. In that doubt lies true modesty, not the sham of insincere self-depreciation but the modesty of "moderation," in the Greek sense. It

Sorry, Bex," Jason said "You don't have the recognizable facial characteristics - such as a huge chin, or a large amount of real estate between the eyes - that would merit the bestowing of a criminal mastermind nickname such as Lockjaw or Walleye. Whereas Crazytop here...well, just look at her." "Atleast I can blow-dry my hair straight," I pointed out. "Which is more than what I can say for your nose, Hawkface.

Nor was her love for Udayan recognizable or intact. Anger was always mounted to it, zigzagging through her like some helplessly mating pair of insects. Anger at him for dying when he might have lived. For bringing her happiness, and then taking it away. For trusting her, only to betray her. For believing in sacrifice, only to be so selfish in the end.

A silhouette was striding down the center of the road, heading for the alley we’d just vacated. Lean, tall, a long black coat rippling behind him, he was instantly recognizable. Even from this distance, I could see the glow of his sword, blue-black and deadly, and the glint of a cold silver eye.

Conformity is evil when it distorts, flattens, and erases fruitful ways, strong ideas, natural identities; it is evil when it is a steamroller. But a man cannot escape being part of a milieu--and a recognizable part--unless he flees naked to a cave, never to return.

For there is a growing apprehension that existence is a rat-race in a trap: living organisms, including people,are merely tubes which put things in at one end and let them out at the other, which both keeps them doing it and in the long run wears them out. So to keep the farce going, the tubes find ways of making new tubes, which also put things in at one end and let them out at the other. At the input end they even develop ganglia of nerves called brains, with eyes and ears, so that they can more easily scrounge around for things to swallow. As and when they get enough to eat, they use up their surplus energy by wiggling in complicated patterns, making all sorts of noises by blowing air in and out of the input hole, and gathering together in groups to fight with other groups. In time, the tubes grow such an abundance of attached appliances that they are hardly recognizable as mere tubes, and they manage to do this in a staggering variety of forms. There is a vague rule not to eat tubes of your own form, but in general there is serious competition as to who is going to be the top type of tube. All this seems marvelously futile, and yet, when you begin to think about it, it begins to be more marvelous than futile. Indeed, it seems extremely odd.

Grief was the deal God struck with the angel of death, who wanted an unpassable river to separate the living from the dead; grief the bridge that would allow the dead to flit among the living, their footsteps overheard, their laughter around the corner, their posture recognizable in the bodies of strangers you would follow down the street, willing them to never turn around.

Money and office and success are the consolations of impotence. Fortune turns kind to such solid people and lets them suck their bone in peace. She flecks her whip upon flesh that is more alive, upon that stream of hungry boys and girls who tramp the streets of every city, recognizable by their pride and discontent, who are the Future, and who possess the treasure of creative power.

Ruby said there were many songs that you could not say anybody in particular had made by himself. A song went around from fiddler to fiddler and each one added something and took something away so that in time the song became a different thing from what it had been, barely recognizable in either tune or lyric. But you could not say the song had been improved, for as was true of all human effort, there was never advancement. Everything added meant something lost, and about as often as not the thing lost was preferable to the thing gained, so that over time we'd be lucky if we just broke even. Any thought otherwise was empty pride.

When we come to worship the God and Father of us all and to partake of the sacrament symbolizing the Atonement of Jesus Christ, we should be as comely and respectful, as dignified and appropriate as we can be. We should be recognizable in appearance as well as in behavior that we truly are disciples of Christ.

Beyond love, beyond unrequited love, perhaps even beyond any other passion known to humanity, deep, deep in the depths of the turgid, clinging, swamplike pit of despair that lies dormant within every soul, lurks JEALOUSY. Jealousy, that most demeaning and debilitating of emotions. Jealousy, which can double the strength of the love upon which it is based, but whilst doubling it, warp and pervert it, untill it is no longer recognizable as the thing of beauty it once was. Jealous love is no more like true love than Mr Hyde was like Dr Jekyll or a stagnant swamp is like a freshwater lake.

Neanderthals had brains slightly larger than our own. They were also the first humans to leave behind strong evidence of burying their dead and caring for their sick. Yet their stone tools were still crude by comparison with modern New Guineans’ polished stone axes and were usually not yet made in standardized diverse shapes, each with a clearly recognizable function. The

Practically every prime-time program is populated by people who are just the right sort of mad, and I now knew what the formula was. The right sort of mad are people who are a bit madder than we fear we're becoming, and in a recognizable way. We might be anxious but we aren't as anxious as they are. We might be paranoid but we aren't as paranoid as they are. We are entertained by them, and comforted that we're not as mad as they are.

It was Joss Whedon's Buffy the Vampire Slayer (the television series, 1997-2003, not the lackluster movie that preceded it) that blazed the trail for Twilight and the slew of other paranormal romance novels that followed, while also shaping the broader urban fantasy field from the late 1990s onward. Many of you reading this book will be too young to remember when Buffy debuted, so you'll have to trust us when we say that nothing quite like it had existed before. It was thrillingly new to see a young, gutsy, kick-ass female hero, for starters, and one who was no Amazonian Wonder Woman but recognizably ordinary, fussing about her nails, her shoes, and whether she'd make it to her high school prom. Buffy's story contained a heady mix of many genres (fantasy, horror, science-fiction, romance, detective fiction, high school drama), all of it leavened with tongue-in-cheek humor yet underpinned by the serious care with which the Buffy universe had been crafted. Back then, Whedon's dizzying genre hopping was a radical departure from the norm-whereas today, post-Buffy, no one blinks an eye as writers of urban fantasy leap across genre boundaries with abandon, penning tender romances featuring werewolves and demons, hard-boiled detective novels with fairies, and vampires-in-modern-life sagas that can crop up darn near anywhere: on the horror shelves, the SF shelves, the mystery shelves, the romance shelves.

The nature of a letter can also be revealed within its numeric value. All letters and numbers behave in a certain but recognizable way, from which we can deduce its nature. The number two is the only even prime. There is an inherent mathematical dilemma with, “one.” No matter how many times you multiply it, by itself, you still can’t get past “one” (1 x 1 x 1 x 1 = 1). So, how does “one” move beyond itself? How does the same, produce the different? Mathematically, “one” is forced to divide itself and work from that duality. Therein, hides the divine puzzle of bet (b). To become “two,” the second must revolt from wholeness—a separation. Yet, the second could not have existed without the benefit of the original wholeness. Also, the first wanted the second to exist, but the first doesn’t know what the second will become. Again, two contains potential badness, to a Hebrew. (Ge 25:24)

Americans make more trash than anyone else on the planet, throwing away about 7.1 pounds per person per day, 365 days a year. Across a lifetime that rate means, on average, we are each on track to generate 102 tons of trash. Each of our bodies may occupy only one cemetery plot when we’re done with this world, but a single person’s 102-ton trash legacy will require the equivalent of 1,100 graves. Much of that refuse will outlast any grave marker, pharaoh’s pyramid or modern skyscraper: One of the few relics of our civilization guaranteed to be recognizable twenty thousand years from now is the potato chip bag.

...recogniz[ing] the dangerous influence the unknown naturally has on everyone." P.60

A scientist places an ad in a Paris newspaper offering a free horoscope. He receives about 150 replies, each, as requested, detailing a place and time of birth. Every respondent is then sent the identical horoscope, along with a questionnaire asking how accurate the horoscope had been. Ninety-four per cent of the respondents (and 90 per cent of their families and friends) reply that they were at least recognizable in the horoscope. However, the horoscope was drawn up for a French serial killer. If an astrologer can get this far without even meeting his subjects, think how well someone sensitive to human nuances and not overly scrupulous might do.

I had forgotten hours and days by then. My arms ached, my back ached, my legs ached. My head ached worst of all, some part of me tethered back to the valley, stretched out of recognizable shape and trying to make sense of myself when I was so far from anything I knew. Even the mountains, my constants, had disappeared. Of course I'd known there were parts of the country with no mountains, but I'd imagined I would still see them somewhere in the distance, like the moon. But every time I looked behind me, they were smaller and smaller, until finally they disappeared with one final gasp of rolling hills.

How well I would write if I were not here! If between the white page and the writing of words and stories that take shape and disappear without anyone's ever writing them there were not interposed that uncomfortable partition which is my person! Style, taste, individual philosophy, subjectivity, cultural background, real experience, psychology, talent, tricks of the trade: all the elements that make what I write recognizable as mine seem to me a cage that restricts my possibilities. If I were only a hand, a severed hand that grasps a pen and writes...who would move this hand? The anonymous throng? The spirit of the times? The collective unconscious? I do not know.

Fascism talks ideology, but it is really just marketing—marketing for power. It is recognizable by its need to purge, by the strategies it uses to purge, and by its terror of truly democratic agendas. It is recognizable by its determination to convert all public services to private entrepreneurship, all nonprofit organizations to profit-making ones—so that the narrow but protective chasm between governance and business disappears. It changes citizens into taxpayers—so individuals become angry at even the notion of the public good. It changes neighbors into consumers—so the measure of our value as humans is not our humanity or our compassion or our generosity but what we own. It changes parenting into panicking—so that we vote against the interests of our own children; against their health care, their education, their safety from weapons. And in effecting these changes it produces the perfect capitalist, one who is willing to kill a human being for a product (a pair of sneakers, a jacket, a car) or kill generations for control of products (oil, drugs, fruit, gold).

Odd, don't you think? I have seen war, and invasions and riots. I have heard of massacres and brutalities beyond imagining, and I have kept my faith in the power of civilization to bring men back from the brink. And yet one women writes a letter, and my whole world falls to pieces. You see, she is an ordinary woman. A good one, even. That's the point ... Nothing [a recognizably bad person does] can surprise or shock me, or worry me. But she denounced Julia and sent her to her death because she resented her, and because Julia is a Jew. I thought in this simple contrast between the civilized and the barbaric, but I was wrong. It is the civilized who are the truly barbaric, and the [Nazi] Germans are merely the supreme expression of it.

If you can cut yourself—your mind—free of what other people do and say, of what you’ve said or done, of the things that you’re afraid will happen, the impositions of the body that contains you and the breath within, and what the whirling chaos sweeps in from outside, so that the mind is freed from fate, brought to clarity, and lives life on its own recognizance —doing what’s right, accepting what happens, and speaking the truth— If you can cut free of impressions that cling to the mind, free of the future and the past—can make yourself, as Empedocles says, “a sphere rejoicing in its perfect stillness,” and concentrate on living what can be lived (which means the present) . . . then you can spend the time you have left in tranquillity. And in kindness. And at peace with the spirit within you.

What happens when we lose the things that anchor us? What if, instead of grasping at something to hold on to, we pull up our roots and walk away? Instead of trying to find the way back, we walk deeper and deeper into the woods, willing ourselves to get lost. In this place where nothing is recognizable. not the people or the language or the food, we are truly on our own. Eventually, we find ourselves unencumbered by the past or the future. Here is a fleeting glimpse of our truest self, our self in the present moment.

People wonder why the novel is the most popular form of literature; people wonder why it is read more than books of science or books of metaphysics. The reason is very simple; it is merely that the novel is more true than they are. Life may sometimes legitimately appear as a book of science. Life may sometimes appear, and with a much greater legitimacy, as a book of metaphysics. But life is always a novel. Our existence may cease to be a song; it may cease even to be a beautiful lament. Our existence may not be an intelligible justice, or even a recognizable wrong. But our existence is still a story. In the fiery alphabet of every sunset is written, “to be continued in our next.

I once loved so hard I almost lost everything, including his life, including my own. Only then did I realize: perhaps love’s physicality is death itself. I think I was taught that love, in its ideal form, is like a newborn baby: full of possibility, still warm from the heated privacy of the womb. But I think, at the end of my life, I won’t see a figure cloaked in black velvet or a swirling void waiting to take me — I will see the face of love. It will be a recognizable light, the one that lived behind all those other faces I knew up close, the light I suspected but could never prove. When I see the face of love, I won’t be afraid. I will see what I’ve been searching for all my life.

Her fingers crawled upwards and touched the outer curve of her breast, and the fingers paused, quaking in fear; but after the moment, despite the panic trying to break out of its shadows and seize her mind, she told her fingers, go on. This is my body. I reclaim my body for myself: for my use, for my understanding, for my kindness and care. Go on. And the fingers walked cautiously on, over the curiously muscleless, faintly ridged flesh, cooler than the rest of the body, across the tender nipple, into the deep cleft between, and out onto the breast that lay limp and helpless and hardly recognizable as round, lying like a hunting trophy over her other arm. Mine, she thought. My body. It lives on the breaths I breathe and the food I eat; the blood my heart pumps reaches all of me, into all my hidden crevices, from my scalp to my heels.

Music has the power to stop time. When I listen to songs, I'm transported back to the moment of their birth, which is sometimes even before the moment of my birth. Old songs, rock or soul or blues, still connect with me because the human emotions in them, whether jealousy or rage or hope, are recognizably similar to the emotions that I'm feeling now. But I'm feeling all of them, all the time, and so the songs act like a chemical process that isolates certain feelings at certain times: maybe one song helps illuminate the jubilation and one helps illuminate the sorrow and one helps illuminate the resignation. Music has the power to stop time. But music also keeps time.

The truth is, those who diligently seek to learn of Christ eventually will come to know Him. They will personally receive a divine portrait of the Master, although it most often comes in the form of a puzzle—one piece at a time. Each individual piece may not be easily recognizable by itself; it may not be clear how it relates to the whole. Each piece helps us to see the big picture a little more clearly. Eventually, after enough pieces have been put together, we recognize the grand beauty of it all. Then, looking back on our experience, we see that the Savior had indeed come to be with us—not all at once but quietly, gently, almost unnoticed.

Heroin makes you sick the first try. Cigarette smoking too if you're lucky. But if you're not lucky, and you develop a taste, if you're one who senses that cocaine gets better with time, or you're one who jumps out of a plane and becomes an adrenaline junky, or you're one who loves the feel of grease melting over your tongue in the form of pecan pie or thick clam chowder or a fat porterhouse or just plain ol' Doritos by the bagful, and you want to repeat the same comfort and recognizable surprise of that first go, that first indulgence, and yet with each succeeding bite the small hope of true satisfaction slides farther away, then you understand Celeste, at least a little.

Whether we realize it or not, most of us define ourselves by opposing rather than by favoring something or someone. To put it another way, it is easier to react than to act. Nothing arouses a passion for dogma more than a good antagonist. And the more unlikely, the better. … It’s difficult to hate an idea. … It’s much easier to hate someone with a recognizable face whom we can blame for everything that makes us feel uncomfortable. It doesn’t have to be an individual character. It could be a nation, a race, a group … anything.

Poetic Terrorism WEIRD DANCING IN ALL-NIGHT computer-banking lobbies. Unauthorized pyrotechnic displays. Land-art, earth-works as bizarre alien artifacts strewn in State Parks. Burglarize houses but instead of stealing, leave Poetic-Terrorist objects. Kidnap someone & make them happy. Pick someone at random & convince them they're the heir to an enormous, useless & amazing fortune--say 5000 square miles of Antarctica, or an aging circus elephant, or an orphanage in Bombay, or a collection of alchemical mss. ... Bolt up brass commemorative plaques in places (public or private) where you have experienced a revelation or had a particularly fulfilling sexual experience, etc. Go naked for a sign. Organize a strike in your school or workplace on the grounds that it does not satisfy your need for indolence & spiritual beauty. Graffiti-art loaned some grace to ugly subways & rigid public monuments--PT-art can also be created for public places: poems scrawled in courthouse lavatories, small fetishes abandoned in parks & restaurants, Xerox-art under windshield-wipers of parked cars, Big Character Slogans pasted on playground walls, anonymous letters mailed to random or chosen recipients (mail fraud), pirate radio transmissions, wet cement... The audience reaction or aesthetic-shock produced by PT ought to be at least as strong as the emotion of terror-- powerful disgust, sexual arousal, superstitious awe, sudden intuitive breakthrough, dada-esque angst--no matter whether the PT is aimed at one person or many, no matter whether it is "signed" or anonymous, if it does not change someone's life (aside from the artist) it fails. PT is an act in a Theater of Cruelty which has no stage, no rows of seats, no tickets & no walls. In order to work at all, PT must categorically be divorced from all conventional structures for art consumption (galleries, publications, media). Even the guerilla Situationist tactics of street theater are perhaps too well known & expected now. An exquisite seduction carried out not only in the cause of mutual satisfaction but also as a conscious act in a deliberately beautiful life--may be the ultimate PT. The PTerrorist behaves like a confidence-trickster whose aim is not money but CHANGE. Don't do PT for other artists, do it for people who will not realize (at least for a few moments) that what you have done is art. Avoid recognizable art-categories, avoid politics, don't stick around to argue, don't be sentimental; be ruthless, take risks, vandalize only what must be defaced, do something children will remember all their lives--but don't be spontaneous unless the PT Muse has possessed you. Dress up. Leave a false name. Be legendary. The best PT is against the law, but don't get caught. Art as crime; crime as art.

Some have felt that these blundering lives are due to the inconvenient indefiniteness with which the Supreme Power has fashioned the natures of women: if there were one level of feminine incompetence as strict as the ability to count three and no more, the social lot of women might be treated with scientific certitude. Meanwhile the indefiniteness remains, and the limits of variation are really much wider than any one would imagine from the sameness of women's coiffure and the favorite love-stories in prose and verse. Here and there a cygnet is reared uneasily among the ducklings in the brown pond, and never finds the living stream in fellowship with its own oary-footed kind. Here and there is born a Saint Theresa, foundress of nothing, whose loving heart-beats and sobs after an unattained goodness tremble off and are dispersed among hindrances, instead of centring in some long-recognizable deed.

If in matters of faith and belief children are at risk of being swept downstream by this intellectual current or that cultural rapid, we as their parents must be more certain than ever to hold to anchored, unmistakable moorings clearly recognizable to those of our own household. It won't help anyone if we go over the edge with them, explaining through the roar of the falls all the way down that we really did know the Church was true and that the keys of the priesthood really were lodged there but we just didn't want to stifle anyone's freedom to think otherwise. No, we can hardly expect the children to get to shore safely if the parents don't seem to know where to anchor their own boat.

Pseudoscience is almost always recognizable from a distance, and easy to confirm on close examination. Science is, however, not immune from hubris, and bad science can be tougher to spot. Those of us who make a living from science or science media must display scientific integrity. We must constantly test our assumptions and fight the siren song of consensus when our data tells us to be contrarian. We must remain independent of political or religious bias in evaluating our work. We must admit when we are wrong, and remain willing to evolve when verifiable data demands change. We must admit when we are uncertain, remain humble in advances, and offer courageous and independent advice grounded in science.

Language is deeply entwined in the intellectual development of humanity itself, it accompanies the latter upon every step of its localized progression or regression; moreover, the pertinent cultural level in each case is recognizable in it. ... Language is, as it were, the external manifestation of the minds of peoples. Their language is their soul, and their soul is their language. It is impossible to conceive them ever sufficiently identical... . The creation of language is an innate necessity of humanity. It is not a mere external vehicle, designed to sustain social intercourse, but an indispensable factor for the development of human intellectual powers, culminating in the formulation of philosophical doctrine.

Later, I admired her: I admired how rapidly, how fluidly, she was adjusting to the fact that the child she thought she would have was not the child she did have. I admired how she knew, well before I did, that the point of a child is not what you hope he will accomplish in our name but the pleasure that he will bring you, whatever form it comes in, even if it is a form that is barely recognizable as pleasure at all - and, more important, the pleasure you will be privileged to bring him. For the rest of Jacob's life, I lagged one step behind Liesl: I kept dreaming he would get better, that he would return to what he had been; she, however, thought only about the life he could have given the current realities of his situation. Maybe he could go to a special school. Okay, he couldn't go to a school at all, but maybe he could be in a playgroup. Okay, he wouldn't be able to be in a playgroup, but maybe he would be able to live a long life anyway. Okay, he wouldn't live a long life, but maybe he could live a short happy life. Okay, he couldn't live a short happy life, but maybe he could live a short life with dignity: we could give him that, and she would hope for nothing else for him.

This one,” he said, “is for my wife.” With a pointed glance, Gideon signaled the band to start. An instantly recognizable bass beat ratcheted up my pulse. “Lifehouse!” Shawny crowed, clapping her hands. “I love them!” “He’s calling you his wife already!” Megumi yelled, leaning toward me. “How freaking’ lucky are you?” I didn’t glance at her. I couldn’t. My attention was riveted on Gideon as he looked directly at me and sang, telling me in a lusciously raspy voice that he was desperate for change and starving for truth. He was answering my song. My eyes burned even as my heart began to beat with a different rhythm. Had I thought he’d be unemotional? My Good, he was killing me, baring his soul in the rough timbre of his voice. “Holy fuck,” Cary said, his eyes on the stage. “The man can sing.” I was hanging by a moment, too, hanging on to every word, hearing his message about chasing after me and falling more in love.

Siddhartha wants liberation, Dante wants Beatrice, Frodo wants to get to Mount Doom—we all want something. Quest is elemental to the human experience. All road narratives are to some extent built on quest. If you’re a woman, though, this fundamental possibility of quest is denied. You can’t go anywhere if you can’t step out onto a road… …(T)here is no female counterpart in our culture to Ishmael or Huck Finn. There is no Dean Moriarty, Sal, or even a Fuckhead. It sounds like a doctoral crisis, but it’s not. As a fifteen-year-old hitchhiker, my survival depended upon other people’s ability to envision a possible future for me. Without a Melvillean or Kerouacian framework, or at least some kind of narrative to spell out a potential beyond death, none of my resourcefulness or curiosity was recognizable, and therefore I was unrecognizable.

Jack was led out of the dark room into the strong light, and as they guided him up the steps he could see nothing for the glare. 'Your head here sir, if you please,' said the sheriff's man in a low, nervous, conciliating voice, 'and your hands just here.'    The man was slowly fumbling with the bolt, hinge and staple, and as Jack stood there with his hands in the lower half-rounds, his sight cleared: he saw that the broad street was filled with silent, attentive men, some in long togs, some in shore-going rig, some in plain frocks, but all perfectly recognizable as seamen. And officers, by the dozen, by the score: midshipmen and officers. Babbington was there, immediately in front of the pillory, facing him with his hat off, and Pullings, Stephen of course, Mowett, Dundas . . . He nodded to them, with almost no change in his iron expression, and his eye moved on: Parker, Rowan, Williamson, Hervey . . . and men from long, long ago, men he could scarcely name, lieutenants and commanders putting their promotion at risk, midshipmen and master's mates their commissions, warrant-officers their advancement.    'The head a trifle forward, if you please, sir,' murmured the sheriff's man, and the upper half of the wooden frame came down, imprisoning his defenceless face. He heard the click of the bolt and then in the dead silence a strong voice cry 'Off hats'. With one movement hundreds of broad-brimmed tarpaulin-covered hats flew off and the cheering began, the fierce full-throated cheering he had so often heard in battle.

We must understand that those who experience abuse as children, and particularly those who experience incest, almost invariably suffer from a profound sense of guilt and shame that is not meliorated merely by unearthing memories or focusing on the content of traumatic material. It is not enough to just remember. Nor is achieving a sense of wholeness and peace necessarily accomplished by either placing blame on others or by forgiving those we perceive as having wronged us. It is achieved through understanding, acceptance, and reinvention of the self. At this point in time there are people who question the validity of the DID diagnosis. The fact is that DID has its own category in the Diagnostic and Statistical Manual of Mental Disorders because, as with all psychiatric conditions, a portion of society experiences a cluster of recognizable symptoms that are not better accounted for by any other diagnosis.

Roma’s eyes flared. “You’re saying Einstein was even more wrong?” Retina shook his head. “Einstein was acting within physical bounds. I’m talking invisible, not visible light. Can we factor in the speed of invisible light?” Roma shook his head. “What are you saying?” “We’re always limited by the scope of our senses, our perceptions and its scientific perfections. But in this parallel we call universe there are scopes beyond our perceptive realities or possible realities. Einstein was not wrong but was limited in scope. There is a realm beyond our visible spectrum where time is imperceptible because space is without measure. And in that realm, matter and energy are not intricately related. Matter has no form and is ill recognizable as essence or existence. Energy is all there is.” Roma held a frown. “Who’s been feeding you that Spiritualist crap?” “Dr. Ian Skript, the most renowned Spiritualist scientist I know.

...his sleep, though deep as death itself, was not dreamless this time, but threaded with ghostly wisps of dreams. These wisps were clearly recognizable as scraps of odors. At first they merely floated in thin threads past Grenouille's nose, but then they grew thicker, more cloudlike. And now it seemed as if he were standing in the middle of a moor from which fog was rising. The fog slowly climbed higher. Soon Grenouille was completely wrapped in fog, saturated with fog, and it seemed he could not get his breath for the foggy vapor. If he did not want to suffocate, he would have to breathe the fog in. And the fog was, as noted, an odor. And Grenouille knew what kind of odor. The fog ws his own odor. His, Grenouille's, own body odor was the fog. And the awful thing was that Grenouille, although he knew that his odor was his odor, could not smell it. Virtually drowning in himself, he could not for the life of him smell himself!

This story takes place a half a billion years ago-an inconceivably long time ago, when this planet would be all but recognizable to you. Nothing at all stirred on the land except the wind and the dust. Not a single blade of grass waved in the wind, not a single cricket chirped, not a single bird soared in the sky. All these things were tens of millions of years away in the future. But of course there was an anthropologist on hand. What sort of world would it be without an anthropologist? He was, however a very depressed and disillusioned anthropologist, for he'd been everywhere on the planet looking for someone to interview, and every tape in his knapsack was as blank as the sky. But one day as he was moping alongside the ocean he saw what seemed to be a living creature in the shallows off shore. It was nothing to brag about, just sort of a squishy blob, but it was the only prospect he'd seen in all his journeys, so he waded out to where it was bobbing in the waves. He greeted the creature politely and was greeted in kind, and soon the two of them were good friends. The anthropologist explained as well as he could that he was a student of life-styles and customs, and begged his new friend for information of this sort, which was readily forthcoming. ‘And now’, he said at last, ‘I'd like to get on tape in your own words some of the stories you tell among yourselves.’ ‘Stories?’ the other asked. ‘You know, like your creation myth, if you have one.’ ‘What is a creation myth?’ the creature asked. ‘Oh, you know,’ the anthropologist replied, ‘the fanciful tale you tell your children about the origins of the world.’ Well, at this, the creature drew itself up indignantly- at least as well as a squishy blob can do- and replied that his people had no such fanciful tale. ‘You have no account of creation then?’ ‘Certainly we have an account of creation,’ the other snapped. ‘But its definitely not a myth.’ ‘Oh certainly not,’ the anthropologist said, remembering his training at last. ‘Ill be terribly grateful if you share it with me.’ ‘Very well,’ the creature said. ‘But I want you to understand that, like you, we are a strictly rational people, who accept nothing that is not based on observation, logic, and scientific method.’ ‘"Of course, of course,’ the anthropologist agreed. So at last the creature began its story. ‘The universe,’ it said, ‘was born a long, long time ago, perhaps ten or fifteen billion years ago. Our own solar system-this star, this planet, and all the others- seem to have come into being some two or three billion years ago. For a long time, nothing whatever lived here. But then, after a billion years or so, life appeared.’ ‘Excuse me,’ the anthropologist said. ‘You say that life appeared. Where did that happen, according to your myth- I mean, according to your scientific account.’ The creature seemed baffled by the question and turned a pale lavender. ‘Do you mean in what precise spot?’ ‘No. I mean, did this happen on land or in the sea?’ ‘Land?’ the other asked. ‘What is land?’ ‘Oh, you know,’ he said, waving toward the shore, ‘the expanse of dirt and rocks that begins over there.’ The creature turned a deeper shade of lavender and said, ‘I cant imagine what you're gibbering about. The dirt and rocks over there are simply the lip of the vast bowl that holds the sea.’ ‘Oh yes,’ the anthropologist said, ‘I see what you mean. Quite. Go on.’ ‘Very well,’ the other said. ‘For many millions of centuries the life of the world was merely microorganisms floating helplessly in a chemical broth. But little by little, more complex forms appeared: single-celled creatures, slimes, algae, polyps, and so on.’ ‘But finally,’ the creature said, turning quite pink with pride as he came to the climax of his story, ‘but finally jellyfish appeared!

Welsh Incident 'But that was nothing to what things came out From the sea-caves of Criccieth yonder.' What were they? Mermaids? dragons? ghosts?' Nothing at all of any things like that.' What were they, then?' 'All sorts of queer things, Things never seen or heard or written about, Very strange, un-Welsh, utterly peculiar Things. Oh, solid enough they seemed to touch, Had anyone dared it. Marvellous creation, All various shapes and sizes, and no sizes, All new, each perfectly unlike his neighbour, Though all came moving slowly out together.' Describe just one of them.' 'I am unable.' What were their colours?' 'Mostly nameless colours, Colours you'd like to see; but one was puce Or perhaps more like crimson, but not purplish. Some had no colour.' 'Tell me, had they legs?' Not a leg or foot among them that I saw.' But did these things come out in any order?' What o'clock was it? What was the day of the week? Who else was present? How was the weather?' I was coming to that. It was half-past three On Easter Tuesday last. The sun was shining. The Harlech Silver Band played Marchog Jesu On thrity-seven shimmering instruments Collecting for Caernarvon's (Fever) Hospital Fund. The populations of Pwllheli, Criccieth, Portmadoc, Borth, Tremadoc, Penrhyndeudraeth, Were all assembled. Criccieth's mayor addressed them First in good Welsh and then in fluent English, Twisting his fingers in his chain of office, Welcoming the things. They came out on the sand, Not keeping time to the band, moving seaward Silently at a snail's pace. But at last The most odd, indescribable thing of all Which hardly one man there could see for wonder Did something recognizably a something.' Well, what?' 'It made a noise.' 'A frightening noise?' No, no.' 'A musical noise? A noise of scuffling?' No, but a very loud, respectable noise --- Like groaning to oneself on Sunday morning In Chapel, close before the second psalm.' What did the mayor do?' 'I was coming to that.

I resolutely refuse to believe that the state of Edward's health had anything to do with this, and I don't say this only because I was once later accused of attacking him 'on his deathbed.' He was entirely lucid to the end, and the positions he took were easily recognizable by me as extensions or outgrowths of views he had expressed (and also declined to express) in the past. Alas, it is true that he was closer to the end than anybody knew when the thirtieth anniversary reissue of his Orientalism was published, but his long-precarious condition would hardly argue for giving him a lenient review, let alone denying him one altogether, which would have been the only alternatives. In the introduction he wrote for the new edition, he generally declined the opportunity to answer his scholarly critics, and instead gave the recent American arrival in Baghdad as a grand example of 'Orientalism' in action. The looting and destruction of the exhibits in the Iraq National Museum had, he wrote, been a deliberate piece of United States vandalism, perpetrated in order to shear the Iraqi people of their cultural patrimony and demonstrate to them their new servitude. Even at a time when anything at all could be said and believed so long as it was sufficiently and hysterically anti-Bush, this could be described as exceptionally mendacious. So when the Atlantic invited me to review Edward's revised edition, I decided I'd suspect myself more if I declined than if I agreed, and I wrote what I felt I had to. Not long afterward, an Iraqi comrade sent me without comment an article Edward had contributed to a magazine in London that was published by a princeling of the Saudi royal family. In it, Edward quoted some sentences about the Iraq war that he off-handedly described as 'racist.' The sentences in question had been written by me. I felt myself assailed by a reaction that was at once hot-eyed and frigidly cold. He had cited the words without naming their author, and this I briefly thought could be construed as a friendly hesitance. Or as cowardice... I can never quite act the stern role of Mr. Darcy with any conviction, but privately I sometimes resolve that that's 'it' as it were. I didn't say anything to Edward but then, I never said anything to him again, either. I believe that one or two charges simply must retain their face value and not become debauched or devalued. 'Racist' is one such. It is an accusation that must either be made good upon, or fully retracted. I would not have as a friend somebody whom I suspected of that prejudice, and I decided to presume that Edward was honest and serious enough to feel the same way. I feel misery stealing over me again as I set this down: I wrote the best tribute I could manage when he died not long afterward (and there was no strain in that, as I was relieved to find), but I didn't go to, and wasn't invited to, his funeral.

Kant abolished God and made man God in His stead. We are still living in the age of the Kantian man, or Kantian man-god. Kant's conclusive exposure of the so-called proofs of the existence of God, his analysis of the limitations of speculative reason, together with his eloquent portrayal of the dgnity of rational man, has had results which might possibly dismay him. How recognizable, how familiar to us, is the man so beautifully portrayed in the Grundelgung, who confronted even with Christ turns away to consider the judgment of his own conscience and to hear the voice of his own reason. Stripped of the exiguous metaphysical background which Kant was prepared to allow him, this man is with us still, free, independent, lonely, powerful, rational, responsible, brave, the hero of so many novels and books of moral philosophy. The raison d'etre of this attractive but misleading creature is not far to seek. He is the offspring of the age of science, confidently rational and yet increasingly aware of his alienation from the material universe which his discoveries reveal; and since he is not a Hegelian (Kant, not Hegel, has provided Western ethics with its dominating image) his alienation is without cure. He is the ideal citizen of the liberal state, a warning held up to tyrants. He has the virtue which the age requires and admires, courage. It is not such a very long step from Kant to Nietzsche, and from Nietzsche to existentialism and the Anglo-Saxon ethical doctrines which in some ways closely resemble it. In fact Kant's man had already received a glorious incarnation nearly a century earlier in the work of Milton: his proper name is Lucifer.

In her memoir of living among the Bushmen, The Old Way: A Story of the First People, my friend Liz lovingly invokes an image first coined by evolutionary biologist Richard Dawkins: “You are standing beside your mother, holding her hand. She is holding her mother’s hand, who is holding her mother’s hand. . . . ” Eventually the line stretches three hundred miles long and goes back five million years, and the clasping hand of the ancestor looks like that of a chimpanzee. I loved picturing one of Octavia’s arms stretching out to meet one of her mother’s arms, and one of her mother’s mother’s arms, and her mother’s mother’s mother’s. . . . Suckered, elastic arms, reaching back through time: an octopus chorus line stretching not just hundreds, but many thousands of miles long. Back past the Cenozoic, the time when our ancestors descended from the trees; back past the Mesozoic, when dinosaurs ruled the land; back past the Permian and the rise of the ancestors of the mammals; back, past the Carboniferous’s coal-forming swamp forests; back past the Devonian, when amphibians emerged from the water; back past the Silurian, when plants first took root on land—all the way to the Ordovician, to a time before the advent of wings or knees or lungs, before the fishes had bony jaws, before blood pumped from a multichambered heart. More than 500 million years ago, the tides would have been stronger, the days shorter, the year longer, and the air too high in carbon dioxide for mammals or birds to breathe. All the earth’s continents huddled in the Southern Hemisphere. And yet still, the arm of Octavia’s ancestor, sensitive, suckered, and supple, would have been recognizable as one of an octopus.

The Oscar-nominated documentary The Act of Killing tells the story of the gangster leaders who carried out anti-communist purges in Indonesia in 1965 to usher in the regime of Suharto. The film’s hook, which makes it compelling and accessible, is that the filmmakers get Anwar —one of the death-squad leaders, who murdered around a thousand communists using a wire rope—and his acolytes to reenact the killings and events around them on film in a variety of genres of their choosing. In the film’s most memorable sequence, Anwar—who is old now and actually really likable, a bit like Nelson Mandela, all soft and wrinkly with nice, fuzzy gray hair—for the purposes of a scene plays the role of a victim in one of the murders that he in real life carried out. A little way into it, he gets a bit tearful and distressed and, when discussing it with the filmmaker on camera in the next scene, reveals that he found the scene upsetting. The offcamera director asks the poignant question, “What do you think your victims must’ve felt like?” and Anwar initially almost fails to see the connection. Eventually, when the bloody obvious correlation hits him, he thinks it unlikely that his victims were as upset as he was, because he was “really” upset. The director, pressing the film’s point home, says, “Yeah but it must’ve been worse for them, because we were just pretending; for them it was real.” Evidently at this point the reality of the cruelty he has inflicted hits Anwar, because when they return to the concrete garden where the executions had taken place years before, he, on camera, begins to violently gag. This makes incredible viewing, as this literally visceral ejection of his self and sickness at his previous actions is a vivid catharsis. He gagged at what he’d done. After watching the film, I thought—as did probably everyone who saw it—how can people carry out violent murders by the thousand without it ever occurring to them that it is causing suffering? Surely someone with piano wire round their neck, being asphyxiated, must give off some recognizable signs? Like going “ouch” or “stop” or having blood come out of their throats while twitching and spluttering into perpetual slumber? What it must be is that in order to carry out that kind of brutal murder, you have to disengage with the empathetic aspect of your nature and cultivate an idea of the victim as different, inferior, and subhuman. The only way to understand how such inhumane behavior could be unthinkingly conducted is to look for comparable examples from our own lives. Our attitude to homelessness is apposite here. It isn’t difficult to envisage a species like us, only slightly more evolved, being universally appalled by our acceptance of homelessness. “What? You had sufficient housing, it cost less money to house them, and you just ignored the problem?” They’d be as astonished by our indifference as we are by the disconnected cruelty of Anwar.

Duroy, who felt light hearted that evening, said with a smile: "You are gloomy to-day, dear master." The poet replied: "I am always so, young man, so will you be in a few years. Life is a hill. As long as one is climbing up one looks towards the summit and is happy, but when one reaches the top one suddenly perceives the descent before one, and its bottom, which is death. One climbs up slowly, but one goes down quickly. At your age a man is happy. He hopes for many things, which, by the way, never come to pass. At mine, one no longer expects anything - but death." Duroy began to laugh: "You make me shudder all over." Norbert de Varenne went on: "No, you do not understand me now, but later on you will remember what I am saying to you at this moment. A day comes, and it comes early for many, when there is an end to mirth, for behind everything one looks at one sees death. You do not even understand the word. At your age it means nothing; at mine it is terrible. Yes, one understands it all at once, one does not know how or why, and then everything in life changes its aspect. For fifteen years I have felt death assail me as if I bore within me some gnawing beast. I have felt myself decaying little by little, month by month, hour by hour, like a house crumbling to ruin. Death has disfigured me so completely that I do not recognize myself. I have no longer anything about me of myself - of the fresh, strong man I was at thirty. I have seen death whiten my black hairs, and with what skillful and spiteful slowness. Death has taken my firm skin, my muscles, my teeth, my whole body of old, only leaving me a despairing soul, soon to be taken too. Every step brings me nearer to death, every movemebt, every breath hastens his odious work. To breathe, sleep, drink, eat, work, dream, everything we do is to die. To live, in short, is to die. Oh, you will realize this. If you stop and think for a moment you will understand. What do you expect? Love? A few more kisses and you will be impotent. Then money? For what? Women? Much fun that will be! In order to eat a lot and grow fat and lie awake at night suffering from gout? And after that? Glory? What use is that when it does not take the form of love? And after that? Death is always the end. I now see death so near that I often want to stretch my arms to push it back. It covers the earth and fills the universe. I see it everywhere. The insects crushed on the path, the falling leaves, the white hair in a friend's head, rend my heart and cry to me, 'Behold it!' It spoils for me all I do, all I see, all that I eat and drink, all that I love; the bright moonlight, the sunrise, the broad ocean, the noble rivers, and the soft summer evening air so sweet to breath." He walked on slowly, dreaming aloud, almost forgetting that he had a listener: "And no one ever returns - never. The model of a statue may be preserved, but my body, my face, my thoughts, my desires will never reappear again. And yet millions of beings will be born with a nose, eyes, forehead, cheeks, and mouth like me, and also a soul like me, without my ever returning, without even anything recognizable of me appearing in these countless different beings. What can we cling to? What can we believe in? All religions are stupid, with their puerile morality and their egotistical promises, monstrously absurd. Death alone is certain." "Think of that, young man. Think of it for days, and months and years, and life will seem different to you. Try to get away from all the things that shut you in. Make a superhuman effort to emerge alive from your own body, from your own interests, from your thoughts, from humanity in general, so that your eyes may be turned in the opposite direction. Then you understand how unimportant is the quarrel between Romanticism and Realism, or the Budget debates.