Representation Quotes

The oppressed are allowed once every few years to decide which particular representatives of the oppressing class are to represent and repress them.

If particular care and attention is not paid to the ladies, we are determined to foment a rebellion, and will not hold ourselves bound by any laws in which we have no voice or representation.

Representation of the world, like the world itself, is the work of men; they describe it from their own point of view, which they confuse with absolute truth.

If I were a scientist watching her, what would I write down as the results? Woman who had neglectful/scary childhood finds comfort in fictional representations of families?

I think I’m always so much more happy with books and movies and stuff. I think I get more excited about well-done representations of life than life itself. - Celine

Cyberspace. A consensual hallucination experienced daily by billions of legitimate operators, in every nation, by children being taught mathematical concepts... A graphic representation of data abstracted from banks of every computer in the human system. Unthinkable complexity. Lines of light ranged in the nonspace of the mind, clusters and constellations of data. Like city lights, receding...

...remember the ladies, and be more generous and favorable to them than your ancestors. Do not put such unlimited power into the hands of the Husbands. Remember all Men would be tyrants if they could. If particular care and attention is not paid to the Ladies we are determined to foment a Rebellion, and will not hold ourselves bound by any Laws in which we have no voice, or Representation.

I tell you to think black thoughts and you come up with that?!" the lieutenant had screamed. "Is a guinea pig bad? Do you consider a guinea pig the representation of all that is evil?" Maybe... if it's an evil guinea pig.

We deserve to have our wrongdoing represented as much as our heroism, because when we refuse wrongdoing as a possibility for a group of people, we refuse their humanity.

If you believe that your thoughts originate inside your brain, do you also believe that television shows are made inside your television set?

But it is a pipe." "No, it's not," I said. It's a drawing of a pipe. Get it? All representations of a thing are inherently abstract. It's very clever.

The life of every individual, viewed as a whole and in general, and when only its most significant features are emphasized, is really a tragedy; but gone through in detail it has the character of a comedy.

All representations of a thing are inherently abstract.

I am not a little bit of many things; but I am the sufficient representation of many things. I am not an incompletion of all these races; but I am a masterpiece of the prolific. I am an entirety, I am not a lack of anything; rather I am a whole of many things. God did not see it needful to make me generic. He thinks I am better than that.

White people are so used to seeing a reflection of themselves in all representations of humanity at all times, that they only notice it when it’s taken away from them.

It is futile and knackering to try and make all your tiny choices representative of your moral compass then beat yourself up when this plan inevitably fails. Feminists can get waxed. Priests can swear. Vegetarians can wear leather shoes. Do as much good as you can. The weighty representation of the world cannot rest on every decision you make.

I have a 12:34 representational time dance. I do it at 3:33 every other Tuesday (twice a day). If you’d like to participate in my choreographed dance routine, bring a football helmet and a half empty can of tuna (keeps the stray cats away, because I perform in a gritty, grimy downtown alley).


In societies where modern conditions of production prevail, all of life presents itself as an immense accumulation of spectacles. Everything that was directly lived has moved away into a representation.

Truth is not a transparent process. What we see are shadows behind mat glass, a vaporous representation of reality. Truth is not as such, what we think it is. Truth is a prism with many sides, that only let us guess. In fact , truth is perhaps not true. Maybe it is just a lie. Taking our truth for “the” truth could lead to many erroneous interpretations.

When I moved my hands down away from the window I caught sight of my reflection in the glass, bright against the black morning beyond. I couldn’t contain the audible gasp that sounded in my throat. I had expected to see the slightly translucent representation of my face mirrored on the pane, but instead I saw an ivory haze where my features should have been.

Since we live in the heads of those who remember us, we lose control of our lives and become who they want us to be.

Why do you love the woman you're in love with? Because she is. And that, after all, is God's own definition of Himself; I am that I am. The girl is who she is. Some of her isness spills over and impregnates the entire universe. Objects and events cease to be mere representations of classes and become their own uniqueness; cease to be illustrations of verbal abstractions and become fully concrete. Then you stop being in love, and the universe collapses, with an almost audible squeak of derision, into its normal insignificance.

Music may be the activity that prepared our pre-human ancestors for speech communication and for the very cognitive, representational flexibility necessary to become humans.

[It] is not that television is entertaining but that it has made entertainment itself the natural format for the representation of all experience. […] The problem is not that television presents us with entertaining subject matter but that all subject matter is presented as entertaining. (87)

This then, I thought, as I looked round about me, is the representation of history. It requires a falsification of perspective. We, the survivors, see everything from above, see everything at once, and still we do not know how it was.

Life is short and truth works far and lives long: let us speak the truth.

A creature who has spent his life creating one particular representation of his selfdom will die rather than become the antithesis of that representation

Whatever torch we kindle, and whatever space it may illuminate, our horizon will always remain encircled by the depth of night.

A map is a two-dimensional representation with arbitrary symbols and incised lines that decide who is to be our enemy and who is to be our friend, who deserves our love and who deserves our hatred and who, our sheer indifference. Cartography is another name for stories told by winners. For stories told by those who have lost, there isn’t one.

Truth is no harlot who throws her arms round the neck of him who does not desire her; on the contrary, she is so coy a beauty that even the man who sacrifices everything to her can still not be certain of her favors.

If we can't write diversity into sci-fi, then what's the point? You don't create new worlds to give them all the same limits of the old ones.

There are a lot of idiots in this country, and they deserve representation as much as the next man.

Next you will cry about taxation without representation, and throw a basket of tea into the harbor. You are indeed a very Jacobin at heart, and I think I must give up trying to cure you of it; I can but wash my hands and deny responsibility

representation is vital otherwise the butterfly surrounded by a group of moths unable to see itself will keep trying to become the moth - representation

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.

...the representation of human character and personality remains always the supreme literary value, whether in drama, lyric or narrative. I am naive enough to read incessantly because I cannot, on my own, get to know enough people profoundly enough.

إحدى مهام المثقف هي بذل الجهد لتهشيم الآراء المقولبة والمقولات التصغيرية, التي تحدُّ كثيراً من الفكر الإنساني والإتصال الفكري. ص12-13 كتاب صُوَر المثقف

Remember, all men would be tyrants if they could. If particular care and attention is not paid to the ladies we are determined to forment a rebellion, and will not hold ourselves bound by any laws in which we have no voice, or representation.

When vacancies happen in the Representation from any State, the Executive Authority thereof shall issue Writs of Election to fill such Vacancies.

In the modern industrialized Western world, where I come from, the person whom you choose to marry is perhaps the single most vivid representation of your own personality. Your spouse becomes the most gleaming possible mirror through which your emotional individualism is reflected back to the world. There is no choice more intensely personal after all, than whom you choose to marry; that choice tells us, to a large extent, who you are.

Our mind is the canvas on which the artists lay their colour; their pigments are our emotions; their chiaroscuro the light of joy, the shadow of sadness. The masterpiece is of ourselves, as we are of the masterpiece.

Good customer care representatives will possess good knowledge to answer any questions without beating around the bush and delaying the issue for a few more days until they find somebody else to look into it.

You earned those scars. You survived. The marks that cover your body are an outward representation of your inner strength. Those marks represent the opposite of weakness, and anyone who thinks differently is an idiot.

The supreme goal of all theory is to make the irreducible basic elements as simple and as few as possible without having to surrender the adequate representation of a simple datum of experience.

What keeps all living things busy and in motion is the striving to exist. But when existence is secured, they do not know what to do: that is why the second thing that sets them in motion is a striving to get rid of the burden of existence, not to feel it any longer, 'to kill time', i.e. to escape boredom.

Nothing disappears completely ... In space, what came earlier continues to underpin what follows ... Pre-existing space underpins not only durable spatial arrangements, but also representational spaces and their attendant imagery and mythic narratives.

The contemporary proliferation of bullshit also has deeper sources, in various forms of skepticism which deny that we can have any reliable access to an objective reality and which therefore reject the possibility of knowing how things truly are. These "anti-realist" doctrines undermine confidence in the value of disinterested efforts to determine what is true and what is false, and even in the intelligibility of the notion of objective inquiry. One response to this loss of confidence has been a retreat from the discipline required by dedication to the ideal of correctness to a quite different sort of discipline, which is imposed by pursuit of an alternative ideal of sincerity. Rather than seeking primarily to arrive at accurate representations of a common world, the individual turns toward trying to provide honest representations of himself. Convinced that reality has no inherent nature, which he might hope to identify as the truth about things, he devotes himself to being true to his own nature. It is as though he decides that since it makes no sense to try to be true to the facts, he must therefore try instead to be true to himself. But it is preposterous to imagine that we ourselves are determinate, and hence susceptible both to correct and to incorrect descriptions, while supposing that the ascription of determinacy to anything else has been exposed as a mistake. As conscious beings, we exist only in response to other things, and we cannot know ourselves at all without knowing them. Moreover, there is nothing in theory, and certainly nothing in experience, to support the extraordinary judgment that it is the truth about himself that is the easiest for a person to know. Facts about ourselves are not peculiarly solid and resistant to skeptical dissolution. Our natures are, indeed, elusively insubstantial -- notoriously less stable and less inherent than the natures of other things. And insofar as this is the case, sincerity itself is bullshit.

Cooking is an art and patience a virtue... Careful shopping, fresh ingredients and an unhurried approach are nearly all you need. There is one more thing - love. Love for food and love for those you invite to your table. With a combination of these things you can be an artist - not perhaps in the representational style of a Dutch master, but rather more like Gauguin, the naïve, or Van Gogh, the impressionist. Plates or pictures of sunshine taste of happiness and love.

If it's true what is said, that only the wise discover the wise, then it must also be true that the lone wolf symbolizes either the biggest fool on the planet or the biggest Einstein on the planet.

What give all that is tragic, whatever its form, the characteristic of the sublime, is the first inkling of the knowledge that the world and life can give no satisfaction, and are not worth our investment in them. The tragic spirit consists in this. Accordingly it leads to resignation.

Humans invent an imaginary lover and put that mask over the face of the body in their bed. That is the tragedy of language my friend. Those who know each other only through symbolic representations are forced to imagine each other. And because their imagination is imperfect, they are often wrong.

مهمة المثقف و المفكر تتطلب اليقظة والانتباه على الدوام ، ورفض الانسياق وراء أنصاف الحقائق أو الأفكار الشائعة بإستمرار

America Is A Gun England is a cup of tea. France, a wheel of ripened brie. Greece, a short, squat olive tree. America is a gun. Brazil is football on the sand. Argentina, Maradona's hand. Germany, an oompah band. America is a gun. Holland is a wooden shoe. Hungary, a goulash stew. Australia, a kangaroo. America is a gun. Japan is a thermal spring. Scotland is a highland fling. Oh, better to be anything than America as a gun.

Stories matter.

Everything costs money," Ham said. "But, what is money? A physical representation of the abstract concept of effort. I'd say that this vest and I are even now." Dockson just rolled his eyes. In the main room, the shop's front door opened and closed, and Vin heard Breeze bid hello to the apprentice on watch. "By the way, Dox," Kelsier said, leaning with his back against a cupboard. "I'm going to need a few 'physical representations of the concept of effort' myself. I'd like to rent a small warehouse to conduct some of my informant meetings.

The workers went along with the Nazis, the Church stood by and watched, the middle classes were too cowardly to do anything, and so were the leading intellectuals. We allowed the unions to be abolished, the various religious denominations to be suppressed, there was no freedom of speech in the press or on the radio. Finally we let ourselves be driven into war. We were content for Germany to do without democratic representation and put up with pseudo-representation by people with no real say in anything. Ideals can’t be betrayed with impunity, and now we must all take the consequences.

المثقفين "تلك الشخصيات التي لا يمكن التكهّن بأدائها العلني؛ أو إخضاع تصرفها لشعار ما, أو خط حزبي تقليدي, أو عقيدة جازمة ثابتة. وما سعيت إلى اقتراحه هو وجوب بقاء المثقف أميناً لمعايير الحق الخاصة بالبؤس الإنساني والاضطهاد, رغم انتسابه الحزبي, وخلفيته القومية, وولاءاته الفطرية. ولا شيء يشوه الأداء العلني للمثقف أكثر من تغيير الآراء تتبعاً للظروف, وإلتزام الصمت الحذر, والتبجح الوطني, والردّة المتأخرة التي تصور نفسها بأسلوب مسرحي" ص14 - صَور المثقف

How often have you heard the argument that we have to slowly implement gender and racial equality in order to not “shock” society? Who is the “society” that people are talking about? I can guarantee that women would be able to handle equal pay or a harassment-free work environment right now, with no ramp-up. I’m certain that people of color would be able to deal with equal political representation and economic opportunity if they were made available today. So for whose benefit do we need to go so slowly? How can white men be our born leaders and at the same time so fragile that they cannot handle social progress?

At the most basic level, therefore, secure attachments in both childhood and adulthood are established by two individual's sharing a nonverbal focus on the energy flow (emotional states) and a verbal focus on the information-processing aspects (representational processes of memory and narrative) of mental life. The matter of the mind matters for secure attachments.

If every single person in this room made it a rule that wherever you are, whenever you can, you will try to act a little kinder than is necessary--the world really would be a better place. And if you do this, . . . someone else, somewhere, someday, may recognize in you, in every single one of you, the face of God. . . . or whatever politically correct spiritual representation of universal goodness you happen to believe in.

In reality, genuine epiphanies are extremely rare. In contemporary adult life maturation & acquiescence to reality are gradual processes. Modern usage usually deploys epiphany as a metaphor. It is usually only in dramatic representations, religious iconography, and the 'magical thinking' of children that insight is compressed to a sudden blinding flash.

ان جميع الناس مفكرون ولكن.... وظيفة المفكر او المثقف في المجتمع لا يقوم بها كل الناس #أنطونيو جرامشي

However, for the man who studies to gain insight, books and studies are merely rungs of the ladder on which he climbs to the summit of knowledge. As soon as a rung has raised him up one step, he leaves it behind. On the other hand, the many who study in order to fill their memory do not use the rungs of the ladder for climbing, but take them off and load themselves with them to take away, rejoicing at the increasing weight of the burden. They remain below forever, because they bear what should have bourne them.

I long to hear that you have declared an independency. And, by the way, in the new code of laws which I suppose it will be necessary for you to make, I desire you would remember the ladies and be more generous and favorable to them than your ancestors. Do not put such unlimited power into the hands of the husbands. Remember, all men would be tyrants if they could. If particular care and attention is not paid to the ladies, we are determined to foment a rebellion, and will not hold ourselves bound by any laws in which we have no voice or representation.

Therefore the man of genius requires imagination, in order to see in things not what nature has actually formed, but what she endeavoured to form, yet did not bring about, because of the conflict of her forms with one another

Death is the true inspiring genius, or the muse of philosophy, wherefore Socrates has defined the latter as θανάτου μελέτη. Indeed without death men would scarcely philosophise.

Optimism is not only a false but also a pernicious doctrine, for it presents life as a desirable state and man's happiness as its aim and object. Starting from this, everyone then believes he has the most legitimate claim to happiness and enjoyment. If, as usually happens, these do not fall to his lot, he believes that he suffers an injustice, in fact that he misses the whole point of his existence.

Whence the possibility of an ideological analysis of Disneyland (L. Marin did it very well in Utopiques, jeux d'espace [Utopias, play of space]): digest of the American way of life, panegyric of American values, idealized transposition of a contradictory reality. Certainly. But this masks something else and this "ideological" blanket functions as a cover for a simulation of the third order: Disneyland exists in order to hide that it is the "real" country, all of "real" America that is Disneyland (a bit like prisons are there to hide that it is the social in its entirety, in its banal omnipresence, that is carceral). Disneyland is presented as imaginary in order to make us believe that the rest is real, whereas all of Los Angeles and the America that surrounds it are no longer real, but belong to the hyperreal order and to the order of simulation. It is no longer a question of a false representation of reality (ideology) but of concealing the fact that the real is no longer real, and thus of saving the reality principle.

From things that have happened and from things as they exist and from all things that you know and all those you cannot know, you make something through your invention that is not a representation but a whole new thing truer than anything true and alive, and you make it alive, and if you make it well enough you give it immortality. That is why you write and for no other reason that you know of. But what about all the reasons that no one knows?

But myth is something else than an explanation of the world, of history, and of destiny. Myth expresses in terms of the world - that is, of the other world or the second world - the understanding that man has of himself in relation to the foundation and the limit of his existence. Hence to demythologize is to interpret myth, that is, to relate the objective representations of the myth to the self-understanding which is both shown and concealed in it.

All happiness is of a negative rather than positive nature, and for this reason cannot give lasting satisfaction and gratification, but rather only ever a release from a pain or lack, which must be followed either by a new pain or by languor, empty yearning and boredom.

We don't worship Satan, we worship ourselves using the metaphorical representation of the qualities of Satan. Satan is the name used by Judeo-Christians for that force of individuality and pride within us. But the force itself has been called by many names.We embrace Christian myths of Satan and Lucifer, along with Satanic renderings in Greek, Roman, Islamic, Sumerian, Syrian, Phrygian, Egyptian, Chinese or Hindu mythologies, to name but a few. We are not limited to one deity, but encompass all the expressions of the accuser or the one who advocates free thought and rational alternatives by whatever name he is called in a particular time and land. It so happens that we are living in a culture that is predominantly Judeo-Christian, so we emphasize Satan. If we were living in Roman times, the central figure, perhaps the title of our religion, would be different. But the name would be expressing and communicating the same thing. It's all context.

All striving comes from lack, from a dissatisfaction with one's condition, and is thus suffering as long as it is not satisfied; but no satisfaction is lasting; instead, it is only the beginning of a new striving. We see striving everywhere inhibited in many ways, struggling everywhere; and thus always suffering; there is no final goal of striving, and therefore no bounds or end to suffering.

When he put the old-fashioned mechanical toy on her palm, she stopped breathing. It was a tiny representation of an atom, complete with colored ball bearings standing in for neutrons, protons, and on the outside, arranged on arcs of fine wire, electrons. Turning the key on the side made the electrons move, what she’d thought were ball bearings actually finely crafted spheres of glass that sparked with color. A brilliant, thoughtful, wonderful gift for a physics major. “Why magnesium?” she asked, identifying the atomic number of the light metal. His hand on her jaw, his mouth on her own. “Because it’s beautifully explosive, just like my X.

I’ve often thought of the forest as a living cathedral, but this might diminish what it truly is. If I have understood Koyukon teachings, the forest is not merely an expression or representation of sacredness, nor a place to invoke the sacred; the forest is sacredness itself. Nature is not merely created by God; nature is God. Whoever moves within the forest can partake directly of sacredness, experience sacredness with his entire body, breathe sacredness and contain it within himself, drink the sacred water as a living communion, bury his feet in sacredness, touch the living branch and feel the sacredness, open his eyes and witness the burning beauty of sacredness

And to this world, to this scene of tormented and agonised beings, who only continue to exist by devouring each other, in which, therefore, every ravenous beast is the living grave of thousands of others, and its self-maintenance is a chain of painful deaths; and in which the capacity for feeling pain increases with knowledge, and therefore reaches its highest degree in man, a degree which is the higher the more intelligent the man is; to this world it has been sought to apply the system of optimism, and demonstrate to us that it is the best of all possible worlds. The absurdity is glaring.

Genius is the ability to leave entirely out of sight our own interest, our willing, and our aims, and consequently to discard entirely our own personality for a time, in order to remain pure knowing subject, the clear eye of the world; and this not merely for moments, but with the necessary continuity and conscious thought to enable us to repeat by deliberate art what has been apprehended and "what in wavering apparition gleams fix in its place with thoughts that stand for ever!

What, then, is truth? A mobile army of metaphors, metonyms, and anthropomorphisms – in short, a sum of human relations, which have been enhanced, transposed, and embellished poetically and rhetorically, and which after long use seem firm, canonical, and obligatory to a people: truths are illusions about which one has forgotten that this is what they are; metaphors which are worn out and without sensuous power; coins which have lost their pictures and now matter only as metal, no longer as coins.

Few realize that political action offers little solution to the world’s major problems. Few understand that the elite have created political parties in order to prevent real change from ever taking place. The political arena is merely the “sty” in which two or more mutually hostile agencies, created by the same hidden hand, get the chance to pummel one another. As alternative researcher Juri Lina so brilliantly put it: When the left wing Freemason is finished, the right-wing Freemason takes over The point has been emphasized by many an insider: The elementary principle of all deception is to attract the enemy’s attention to what you wish him to see and to distract his attention from what you so not wish him to see – General Sir Archibald Wavel The world’s power structures have always ‘divided to conquer’ and have always ‘kept divided to keep conquered.’ As a consequence the power structure has so divided humanity – not only into special function categories but into religious and language and color categories – that individual humans are now helplessly inarticulate in the face of the present crisis. They consider their political representation to be completely corrupted, therefore, they feel almost utterly helpless

Why does the social order feel the need to defend itself by evading the fact of real women, our faces and voices and bodies, and reducing the meaning of women to these formulaic and endlessly reproduced "beautiful" images? Though unconscious personal anxieties can be a powerful force in the creation of a vital lie, economic necessity practically guarantees it. An economy that depends on slavery needs to promote images of slaves that "justify" the institution of slavery. Western economies are absolutely dependent now on the continued underpayment of women. An idealogy that makes women feel "worth less" was urgently needed to counteract the way feminism had begun to make us feel worth more. This does not require a conspiracy; merely an atmosphere. The contemporary economy depends right now on the representation of women within the beauty myth.

This is how space begins, with words only, signs traced on the blank page. To describe space: to name it, to trace it, like those portolano-makers who saturated the coastlines with the names of harbours, the names of capes, the names of inlets, until in the end the land was only separated from the sea by a continuous ribbon of text. Is the aleph, that place in Borges from which the entire world is visible simultaneously, anything other than an alphabet?

The insistence is on merit, insinuating that any current majority white leadership in any industry has got there through hard work and no outside help, as if whiteness isn’t its own leg-up, as if it doesn’t imply a familiarity that warms an interviewer to a candidate. When each of the sectors I mentioned earlier have such dire racial representation, you’d have to be fooling yourself if you really think that the homogeneous glut of middle-aged white men currently clogging the upper echelons of most professions got there purely through talent alone. We don’t live in a meritocracy, and to pretend that simple hard work will elevate all to success is an exercise in wilful ignorance.

I stared at the pictogram of a burger nestled between similar representations of shakes, sodas, and fries, on the front of my register. I wondered why humankind seemed so dead set on destroying all of its accomplishments. We draw on cave walls, spend thousands of years developing complex language systems, the printing press, computers, and what do we do with it? Create a cash register with the picture of a burger on it, just in case the cashier didn't finish the second grade. One step forward, two steps back-- like an evolutionary cha-cha. Working here just proved that the only thing separating me from a monkey was pants.

But he will fear least to become nothing in death who has recognized that he is already nothing now, and who consequently no longer takes any share in his individual phenomenon, because in him knowledge has, as it were, burnt up and consumed the will, so that no will, thus no desire for individual existence, remains in him any more.

The problem with people today, is, they have religions but they have no spirituality. They go to church but they cannot even manage the condition of their own souls. They take pride to state the name of their religions and broadcast these things on facebook and everywhere, thinking that the nature of their religion represents the nature of their spirit. It's just the same as how they present their cars, houses, and degrees to the world— to stand as a representation of what they are. That's not spirituality; that's still materialism. Yes, perhaps your car, house and degree represents what you've achieved (or what your status in society is); but your religion does not represent what your spirit is like. You cannot go to a certain church or belong to a certain group of people and have that be a replica of your spirit.

That's one of the things that "queer" can refer to: the open mesh of possibilities, gaps, overlaps, dissonances and resonances, lapses and excesses of meaning when the constituent elements of anyone's gender, of anyone's sexuality aren't made (or can't be made) to signify monolithically. The experimental linguistic, epistemological, representational, political adventures attaching to the very many of us who may at times be moved to describe ourselves as (among many other possibilities) pushy femmes, radical faeries, fantasists, drags, clones, leatherfolk, ladies in tuxedos, feminist women or feminist men, masturbators, bulldaggers, divas, Snap! queens, butch bottoms, storytellers, transsexuals, aunties, wannabes, lesbian-identified men or lesbians who sleep with men, or ... people able to relish, learn from, or identify with such.

Spinoza says that if a stone which has been projected through the air, had consciousness, it would believe that it was moving of its own free will. I add this only, that the stone would be right. The impulse given it is for the stone what the motive is for me, and what in the case of the stone appears as cohesion, gravitation, rigidity, is in its inner nature the same as that which I recognise in myself as will, and what the stone also, if knowledge were given to it, would recognise as will.

The strangest thing about humans is the way they pair up, males and females. Constantly at war with each other, never content to leave each other alone. They never seem to grasp the idea that males and females are separate species with completely different needs and desires, forced to come together only to reproduce Of course you feel that way. Your mates are nothing but mindless drones, extensions of yourself, without their own identity. We know out lovers with perfect understanding. Humans invent an imaginary lover and put that mask over the face of the body in their bed. That is the tradegy of language, my friend. Those who know each other only through symbolic representations are forced to imagine each other. And because their imagination is imperfect, they are often wrong, This is the source of their misery. And some of their strength, I think. Your people and mine, each for their own evolutionary reasons, mate with vastly unequal partners. Our mates are always, hopelessly, our intellectual inferiors. Humans mate with beings who challenge their supremcy. They have conflicts between mates, not because their communication is inferior to ours, but because they commune with each other at all.

Critical art is an art that aims to produce a new perception of the world, and therefore to create a commitment to its transformation. This schema, very simple in appearance, is actually the conjunction of three processes: first, the production of a sensory form of 'strangeness'; second, the development of an awareness of the reason for that strangeness and third, a mobilization of individuals as a result of that awareness.

The problem is, it's just not enough to live according to the rules. Sure, you manage to live according to the rules. Sometimes it's tight, extremely tight, but on the whole you manage it. Your tax papers are up to date. Your bills paid on time. You never go out without your identity card (and the special little wallet for your Visa!). Yet you haven’t any friends. The rules are complex, multiform. There’s the shopping that needs doing out of working hours, the automatic dispensers where money has to be got (and where you so often have to wait). Above all there are the different payments you must make to the organizations that run different aspects of your life. You can fall ill into the bargain, which involves costs, and more formalities. Nevertheless, some free time remains. What’s to be done? How do you use your time? In dedicating yourself to helping people? But basically other people don’t interest you. Listening to records? That used to be a solution, but as the years go by you have to say that music moves you less and less. Taken in its widest sense, a spot of do-it-yourself can be a way out. But the fact is that nothing can halt the ever-increasing recurrence of those moments when your total isolation, the sensation of an all-consuming emptiness, the foreboding that your existence is nearing a painful and definitive end all combine to plunge you into a state of real suffering. And yet you haven’t always wanted to die. You have had a life. There have been moments when you were having a life. Of course you don't remember too much about it; but there are photographs to prove it. This was probably happening round about the time of your adolescence, or just after. How great your appetite for life was, then! Existence seemed so rich in new possibilities. You might become a pop singer, go off to Venezuela. More surprising still, you have had a childhood. Observe, now, a child of seven, playing with his little soldiers on the living room carpet. I want you to observe him closely. Since the divorce he no longer has a father. Only rarely does he see his mother, who occupies an important post in a cosmetics firm. And yet he plays with his little soldiers and the interest he takes in these representations of the world and of war seems very keen. He already lacks a bit of affection, that's for sure, but what an air he has of being interested in the world! You too, you took an interest in the world. That was long ago. I want you to cast your mind back to then. The domain of the rules was no longer enough for you; you were unable to live any longer in the domain of the rules; so you had to enter into the domain of the struggle. I ask you to go back to that precise moment. It was long ago, no? Cast your mind back: the water was cold.

The shirt was a screen print of a famous Surrealist artwork by René Magritte in which he drew a pipe and then beneath it wrote in cursive Ceci n’est pas une pipe. (“This is not a pipe.”) “I just don’t get that shirt,” Mom said. “Peter Van Houten will get it, trust me. There are like seven thousand Magritte references in An Imperial Affliction.” “But it is a pipe.” “No, it’s not,” I said. “It’s a drawing of a pipe. Get it? All representations of a thing are inherently abstract. It’s very clever.” “How did you get so grown up that you understand things that confuse your ancient mother?” Mom asked. “It seems like just yes-terday that I was telling seven-year-old Hazel why the sky was blue. You thought I was a genius back then.” “Why is the sky blue?” I asked. “Cuz,” she answered. I laughed.

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.

Any beautiful mind, full of ideas, would always express itself in the most natural, simple and straightforward way, anxious to communicate its thoughts to others (if this is at all possible) and thus relieve the solitude that he must experience in a world such as this: but conversely, intellectual poverty, confusion and wrong-headedness, clothe themselves in the most laboured expressions and obscure turns of phrase in order to conceal petty, trivial, bland or trite thoughts in difficult and pompous expressions.

The more I write stories for young people, and the more young readers I meet, the more I'm struck by how much kids long to see themselves in stories. To see their identities and perspectives—their avatars—on the page. Not as issues to be addressed or as icons for social commentary, but simply as people who get to do cool things in amazing worlds. Yes, all the “issue” books are great and have a place in literature, but it's a different and wildly joyous gift to find yourself on the pages of an entertainment, experiencing the thrills and chills of a world more adventurous than our own. And when you see that as a writer, you quickly realize that you don't want to be the jerk who says to a young reader, “Sorry, kid. You don't get to exist in story; you're too different.” You don't want to be part of our present dystopia that tells kids that if they just stopped being who they are they could have a story written about them, too. That's the role of the bad guy in the dystopian stories, right? Given a choice, I'd rather be the storyteller who says every kid can have a chance to star.

One morning I fell to sketching a face: what sort of a face it was to be, I did not care or know. I took a soft black pencil, gave it a broad point, and worked away. Soon I had traced on the paper a broad and prominent forehead and a square lower outline of visage: that contour gave me pleasure; my fingers proceeded actively to fill it with features. Strongly-marked horizontal eyebrows must be traced under that brow; then followed, naturally, a well-defined nose, with a straight ridge and full nostrils; then a flexible-looking mouth, by no means narrow; then a firm chin, with a decided cleft down the middle of it: of course, some black whiskers were wanted, and some jetty hair, tufted on the temples, and waved above the forehead. Now for the eyes: I had left them to the last, because they required the most careful working. I drew them large; I shaped them well: the eyelashes I traced long and sombre; the irids lustrous and large. "Good! but not quite the thing," I thought, as I surveyed the effect: "they want more force and spirit;" and I wrought the shades blacker, that the lights might flash more brilliantly--a happy touch or two secured success. There, I had a friend's face under my gaze; and what did it signify that those young ladies turned their backs on me? I looked at it; I smiled at the speaking likeness: I was absorbed and content. Is that a portrait of some one you know?" asked Eliza, who had approached me unnoticed. I responded that it was merely a fancy head, and hurried it beneath the other sheets. Of course, I lied: it was, in fact, a very faithful representation of Mr. Rochester. But what was that to her, or to any one but myself? Georgiana also advanced to look. The other drawings pleased her much, but she called that 'an ugly man.

It is not surprising that young white males – most between thirty and forty – play major roles in the production of hip-pop. It’s easy to forget this because when most people critique rap and hip-pop harshly, they assume that young black men are the sole creators and producers of misogynist rap. In fact, nothing is unilaterally produced anymore. As we’ve discussed, once you have a corporate takeover of the street culture, it is no longer the property of the young, Black and Latino men and women who have created it. It is reinvented with the mass consumer audience in mind. The hard-core misogyny and the hard-core sexism isn’t a translation from street to big-time studio, it is a product of the big-time studio.

There's a class of things to be afraid of: it's "those things that you should be afraid of". Those are the things that go bump in the night, right? You're always exposed to them when you go to horror movies, especially if they're not the gore type of horror movie. They're always hinting at something that's going on outside of your perceptual sphere, and they frighten you because you don't know what's out there. For that the Blair Witch Project was a really good example, because nothing ever happens in that movie but it's frightenting and not gory. It plays on the fact tht you do have a category of Those Things Of Which You Should Be Afraid. So it's a category, frightening things. And only things capable of abstraction can come up with something like the caregory of frightenting things. And so Kali is like an embodied representation of the category of frightening things. And then you might ask yourself, well once you come up with the concept of the category of frightening things, maybe you can come up with the concept of what to do in the face of frightening things. Which is not the same as "what do you do when you encounter a lion", or "what do you do when you encounter someone angry". It's a meta question, right? But then you could say, at a philosophical level: "You will encounter elements of the category of all those things which can frighten and undermine you during your life. Is there something that you can do *as a category* that would help you deal with that." And the answer is yeah, there is in fact. And that's what a lot of religious stories and symbolic stories are trying to propose to you, is the solution to that. One is, approach it voluntarily. Carefully, but voluntarily. Don't freeze and run away. Explore, instead. You expose yourself to risk but you gain knowledge. And you wouldn't have a cortex which, you know, is ridiculously disproportionate, if as a species we hadn't decided that exploration trumps escape or freezing. We explore. That can make you the master of a situation, so you can be the master of something like fire without being terrified of it. One of the things that the Hindus do in relationship to Kali, is offer sacrifices. So you can say, well why would you offer sacrifices to something you're afraid of. And it's because that is what you do, that's always what you do. You offer up sacrifices to the unknown in the hope that good things will happen to you. One example is that you're worried about your future. Maybe you're worried about your job, or who you're going to marry, or your family, there's a whole category of things to be worried about, so you're worried about your future. SO what're you doing in university? And the answer is you're sacrificing your free time in the present, to the cosmos so to speak, in the hope that if you offer up that sacrifice properly, the future will smile upon you. And that's one of the fundamental discoveries of the human race. And it's a big deal, that discovery: by changing what you cling to in the present, you can alter the future.

It is really incredible how meaningless and insignificant when seen from without, and how dull and senseless when felt from within, is the course of life of the great majority of men. It is weary longing and worrying, a dreamlike staggering through the four ages of life to death, accompanied by a series of trivial thoughts. They are like clockwork that is wound up and goes without knowing why. Every time a man is begotten and born the clock of human life is wound up anew, to repeat once more its same old tune that has already been played innumerable times, movement by movement and measure by measure, with insignificant variations. Every individual, every human apparition and its course of life, is only one more short dream of the endless spirit of nature, of the persistent will-to-live, is only one more fleeting form, playfully sketched by it on its infinite page, space and time; it is allowed to exist for a short while that is infinitesimal compared with these, and is then effaced, to make new room. Yet, and here is to be found the serious side of life, each of these fleeting forms, these empty fancies, must be paid for by the whole will-to-live in all its intensity with many deep sorrows, and finally with a bitter death, long feared and finally made manifest. It is for this reason that the sight of a corpse suddenly makes us serious.

Imagination is not, as some poets have thought, simply synonymous with good. It may be either good or evil. As long as art remained primarily mimetic, the evil which imagination could do was limited by nature. Again, as long as it was treated as an amusement, the evil which it could do was limited in scope. But in an age when the connection between imagination and figuration is beginning to be dimly realized, when the fact of the directionally creator relation is beginning to break through into consciousness, both the good and the evil latent in the working of imagination begin to appear unlimited. We have seen in the Romantic movement an instance of the way in which the making of images may react upon the collective representations. It is a fairly rudimentary instance, but even so it has already gone beyond the dreams and responses of a leisured few. The economic and social structure of Switzerland is noticeably affected by its tourist industry, and that is due only in part to increased facilities of travel. It is due not less to the condition that (whatever may be said about their ‘particles’) the mountains which twentieth-century man sees are not the mountains which eighteenth-century man saw. It may be objected that this is a very small matter, and that it will be a long time before the imagination of man substantially alters those appearances of nature with which his figuration supplies him. But then I am taking the long view. Even so, we need not be too confident. Even if the pace of change remained the same, one who is really sensitive to (for example) the difference between the medieval collective representations and our own will be aware that, without traveling any greater distance than we have come since the fourteenth century, we could very well move forward into a chaotically empty or fantastically hideous world. But the pace of change has not remained the same. It has accelerated and is accelerating. We should remember this, when appraising the aberrations of the formally representational arts. Of course, in so far as these are due to affectation, they are of no importance. But in so far as they are genuine, they are genuine because the artist has in some way or other experienced the world he represents. And in so far as they are appreciated, they are appreciated by those who are themselves willing to make a move towards seeing the world in that way, and, ultimately therefore, seeing that kind of world. We should remember this, when we see pictures of a dog with six legs emerging from a vegetable marrow or a woman with a motorbicycle substituted for her left breast.

[Author's Note:] When I was sixteen, two of my cousins were brutally raped by four strangers and thrown off a bridge in St. Louis, Missouri. My brother was beaten and also forced off the bridge. I wrote about that horrible crime in my first book, my memoir, A Rip in Heaven. Because that crime and the subsequent writing of the book were both formative experience in my life, I became a person who is always, automatically, more interested in stories about victims than perpetrators. I'm interested in characters who suffer inconceivable hardship, in people who manage to triumph over extraordinary trauma. Characters like Lydia and Soledad. I'm less interested in the violent, macho stories of gangsters and law enforcement. Or in any case, I think the world has enough stories like those. Some fiction set in the world of the cartels and narcotraficantes is compelling and important - I read much of it during my early research. Those novels provide readers with an understanding of the origins of the some of the violence to our south. But the depiction of that violence can feed into some of the worst stereotypes about Mexico. So I saw an opening for a novel that would press a little more intimately into those stories, to imagine people on the flip side of that prevailing narrative. Regular people like me. How would I manage if I lived in a place that began to collapse around me? If my children were in danger, how far would I go to save them? I wanted to write about women, whose stories are often overlooked.