β
What a blessing it is to love books as I love them;- to be able to converse with the dead, and to live amidst the unreal!
β
β
Thomas Babington Macaulay (The Selected Letters of Thomas Babington Macaulay)
β
The unreal is more powerful than the real. Because nothing is as perfect as you can imagine it. Because its only intangible ideas, concepts, beliefs, fantasies that last. Stone crumbles. Wood rots. People, well, they die. But things as fragile as a thought, a dream, a legend, they can go on and on. If you can change the way people think. The way they see themselves. The way they see the world. You can change the way people live their lives. That's the only lasting thing you can create.
β
β
Chuck Palahniuk (Choke)
β
There is no reality except the one contained within us. That is why so many people live such an unreal life. They take the images outside of them for reality and never allow the world within to assert itself.
β
β
Hermann Hesse (Steppenwolf)
β
Unreal friendship may turn to real
But real friendship, once ended, cannot be mended
β
β
T.S. Eliot (Murder in the Cathedral)
β
The mass of men lead lives of quiet desperation. What is called resignation is confirmed desperation. From the desperate city you go into the desperate country, and have to console yourself with the bravery of minks and muskrats. A stereotyped but unconscious despair is concealed even under what are called the games and amusements of mankind. There is no play in them, for this comes after work. But it is a characteristic of wisdom not to do desperate things..
β
β
Henry David Thoreau (Civil Disobedience and Other Essays)
β
The more real you get the more unreal the world gets.
β
β
John Lennon
β
Perhaps it takes a purer faith to praise God for unrealized blessings than for those we once enjoyed or those we enjoy now.
β
β
A.W. Tozer
β
It is an illusion that youth is happy, an illusion of those who have lost it; but the young know they are wretched for they are full of the truthless ideal which have been instilled into them, and each time they come in contact with the real, they are bruised and wounded. It looks as if they were victims of a conspiracy; for the books they read, ideal by the necessity of selection, and the conversation of their elders, who look back upon the past through a rosy haze of forgetfulness, prepare them for an unreal life. They must discover for themselves that all they have read and all they have been told are lies, lies, lies; and each discovery is another nail driven into the body on the cross of life.
β
β
W. Somerset Maugham (Of Human Bondage)
β
Oh, Neil, unpredictable as he is unreal.
β
β
Nora Sakavic (The Foxhole Court (All for the Game, #1))
β
Once you are real you can't become unreal again. It lasts for always.
β
β
Margery Williams Bianco (The Velveteen Rabbit)
β
When every hope is gone, 'when helpers fail and comforts flee,' I find that help arrives somehow, from I know not where. Supplication, worship, prayer are no superstition; they are acts more real than the acts of eating, drinking, sitting or walking. It is no exaggeration to say that they alone are real, all else is unreal.
β
β
Mahatma Gandhi (Gandhi: An Autobiography)
β
If no one else, the dying must notice how unreal, how full of pretense, is all that we accomplish here, where nothing is allowed to be itself.
β
β
Rainer Maria Rilke (The Selected Poetry of Rainer Maria Rilke)
β
Insensibly he formed the most delightful habit in the world, the habit of reading: he did not know that thus he was providing himself with a refuge from all the distress of life; he did not know either that he was creating for himself an unreal world which would make the real world of every day a source of bitter disappointment.
β
β
W. Somerset Maugham (Of Human Bondage)
β
The philosophy of Atheism represents a concept of life without any metaphysical Beyond or Divine Regulator. It is the concept of an actual, real world with its liberating, expanding and beautifying possibilities, as against an unreal world, which, with its spirits, oracles, and mean contentment has kept humanity in helpless degradation.
β
β
Emma Goldman (Anarchism and Other Essays)
β
The things we see are the same things that are within us. There is no reality except the one contained within us. That is why so many people live such an unreal life. They take the images outside them for reality and never allow the world within to assert itself.
β
β
Hermann Hesse (Demian)
β
Only the right name gives beings and things their reality. A wrong name makes everything unreal. That's what lies do.
β
β
Michael Ende (The Neverending Story)
β
Each night he added to the pattern of his fancies until drowsiness closed down upon some vivid scene with an oblivious embrace. For awhile these reveries provided an outlet for his imagination; they were a satisfactory hint of the unreality of reality, a promise that the rock of the world was founded securely on a fairy's wing.
β
β
F. Scott Fitzgerald (The Great Gatsby)
β
The child intuitively comprehends that although these stories are unreal, they are not untrue ...
β
β
Bruno Bettelheim (The Uses of Enchantment: The Meaning and Importance of Fairy Tales)
β
People sometimes say that the way things happen in the movies is unreal, but actually, it's the way things happen to you in life that's unreal. The movies make emotions look strong and real, whereas when things really do happen to you, it's like you're watching television -- you don't feel anything.
β
β
Andy Warhol
β
Perfection is shallow, unreal, and fatally uninteresting.
β
β
Anne Lamott
β
But it is important to know this, to know your roots. To know where you started as a person. If not, your own life seems unreal to you. Like a puzzle. Vous comprenez? Like you have missed the beginning of a story and now you are in the middle of it, trying to understand.
β
β
Khaled Hosseini (And the Mountains Echoed)
β
Writing a novel is not merely going on a shopping expedition across the border to an unreal land: it is hours and years spent in the factories, the streets, the cathedrals of the imagination.
β
β
Janet Frame
β
...The thought of how much happiness lay scattered across the universe, unrealized, in fragments, waiting for the right twist of fate to bring it together.
β
β
Leah Raeder (Unteachable)
β
No one gives up on something until it turns on them, whether or not that thing is real or unreal.
β
β
Thomas Ligotti (Teatro Grottesco)
β
There are no hard distinctions between what is real and what is unreal, nor between what is true and what is false. A thing is not necessarily either true or false; it can be both true and false.
β
β
Harold Pinter
β
If, when stung by slander or ill-nature, we wax proud and swell with anger, it is a proof that our gentleness and humility are unreal, and mere artificial show.
β
β
Francis de Sales (Introduction to the Devout Life)
β
Melancholia is, I believe, a musical problem: a dissonance, a change in rhythm. While on the outside everything happens with the vertiginous rhythm of a cataract, on the inside is the exhausted adagio of drops of water falling from time to tired time. For this reason the outside, seen from the melancholic inside, appears absurd and unreal, and constitutes βthe farce we all must playβ. But for an instant β because of a wild music, or a drug, or the sexual act carried to its climax β the very slow rhythm of the melancholic soul does not only rise to that of the outside world: it overtakes it with an ineffably blissful exorbitance, and the soul then thrills animated by delirious new energies
β
β
Alejandra Pizarnik
β
You fight your superficiality, your shallowness, so as to try to come at people without unreal expectations, without an overload of bias or hope or arrogance, as untanklike as you can be, sans cannon and machine guns and steel plating half a foot thick; you come at them unmenacingly on your own ten toes instead of tearing up the turf with your caterpillar treads, take them on with an open mind, as equals, man to man, as we used to say, and yet you never fail to get them wrong. You might as well have the brain of a tank. You get them wrong before you meet them, while you're anticipating meeting them; you get them wrong while you're with them; and then you go home to tell somebody else about the meeting and you get them all wrong again. Since the same generally goes for them with you, the whole thing is really a dazzling illusion. ... The fact remains that getting people right is not what living is all about anyway. It's getting them wrong that is living, getting them wrong and wrong and wrong and then, on careful reconsideration, getting them wrong again. That's how we know we're alive: we're wrong. Maybe the best thing would be to forget being right or wrong about people and just go along for the ride. But if you can do that -- well, lucky you.
β
β
Philip Roth (American Pastoral)
β
To die; to decide to die; that's much easier for an adolescent than for an adult. What? Doesn't death strip an adolescent of a far larger portion of future? Certainly it does, but for a young person, the future is a remote, abstract, unreal thing he doesn't really believe in.
β
β
Milan Kundera (Ignorance)
β
After the bare requisites to living and reproducing, man wants most to leave some record of himself, a proof, perhaps, that he has really existed. He leaves his proof on wood, on stone or on the lives of other people. This deep desire exists in everyone, from the boy who writes dirty words in a public toilet to the Buddha who etches his image in the race mind. Life is so unreal. I think that we seriously doubt that we exist and go about trying to prove that we do.
β
β
John Steinbeck (The Pastures of Heaven)
β
We sometimes need to create unreal monsters and bogies to stand in for all the things we fear in our real lives.
β
β
Stephen King (The Shining (The Shining, #1))
β
Reality is, you know, the tip of an iceberg of irrationality that we've managed to drag ourselves up onto for a few panting moments before we slip back into the sea of the unreal.
β
β
Terence McKenna
β
Once in an age God sends to some of us a friend who loves in us, not a false-imagining, an unreal character, but looking through the rubbish of our imperfections, loves in us the divine ideal of our nature,--loves, not the man that we are, but the angel that we may be.
β
β
Harriet Beecher Stowe
β
I came to the conclusion that unrealized hopes, even small ones, were always wrenching.
β
β
Nicholas Sparks (The Wedding (The Notebook, #2))
β
This accidental
meeting of possibilities
calls itself I.
I ask: what am I doing here?
And, at once, this I
becomes unreal.
β
β
Dag HammarskjΓΆld (Markings)
β
You hate America, don't you?'
That would be as silly as loving it,' I said. 'It's impossible for me to get emotional about it, because real estate doesn't interest me. It's no doubt a great flaw in my personality, but I can't think in terms of boundaries. Those imaginary lines are as unreal to me as elves and pixies. I can't believe that they mark the end or the beginning of anything of real concern to a human soul. Virtues and vices, pleasures and pains cross boundaries at will.
β
β
Kurt Vonnegut Jr. (Mother Night)
β
nothing proving or sick or partial. Nothing false,nothing difficult or easy or small or colossal. Nothing ordinary or extraordinary,nothing emptied or filled,real or unreal;nothing feeble and known or clumsy and guessed. Everywhere tints childrening, innocent spontaneous,true. Nowhere possibly what flesh and impossibly such a garden,but actually flowers which breasts are among the very mouths of light. Nothing believed or doubted; brain over heart, surface:nowhere hating or to fear;shadow, mind without soul. Only how measureless cool flames of making;only each other building always distinct selves of mutual entirely opening;only alive. Never the murdered finalities of wherewhen and yesno,impotent nongames of wrongright and rightwrong;never to gain or pause,never the soft adventure of undoom,greedy anguishes and cringing ecstasies of inexistence; never to rest and never to have:only to grow.
Always the beautiful answer who asks a more beautiful question.
β
β
E.E. Cummings
β
I couldnβt breathe. She was so beautiful that it was unreal. All I could do was stare at her like an idiot. Oh crap, Iβm staring! OK come on, Liam, say something.
Say anything.
Liam, freaking say SOMETHING.
βUmβ¦ Hi, Angel,β I mumbled, my voice sounding tight. Wow, that was real smooth, Liam! God, Iβm such a dick!
β
β
Kirsty Moseley (The Boy Who Sneaks in My Bedroom Window (The Boy Who Sneaks in My Bedroom Window, #1))
β
You don't speak of dreams as unreal. They exist. They leave a mark behind them.
β
β
Ursula K. Le Guin (The Lathe of Heaven)
β
You know what I mean? Real and unreal, beautiful and strange, like a dream. It got me high as a kite, but it didnβt last long enough. It ended too soon and left nothing behind.β
Thatβs how it is with dreams,β said Priscilla. βTheyβre the perfect crime.
β
β
Tom Robbins (Jitterbug Perfume)
β
Nothing real can be threatened. Nothing unreal exists. Herein lies the peace of God.
β
β
Foundation for Inner Peace (A Course in Miracles)
β
They all talked at once, their voices insistent and contradictory and impatient, making of unreality a possibility, then a probability, then an incontrovertible fact, as people will when their desires become words.
β
β
William Faulkner (The Sound and the Fury)
β
What is common in all these dreams is obvious. They completely satisfy wishes excited during the day which remain unrealized. They are simply and undisguisedly realizations of wishes.
β
β
Sigmund Freud (The Interpretation of Dreams)
β
Real isn't how you are made. It's a thing that happens to you. Sometimes it hurts, but when you are Real you don't mind being hurt. It doesn't happen all at once. You become. Once you are Real you can't be ugly, except to people who don't understand. Once you are Real you can't become unreal again. It lasts for always.
β
β
Margery Williams Bianco (The Velveteen Rabbit)
β
Hades allowed himself the faintest smile, but there was nothing cruel in his eyes.
βI can entertain the possibility that you acted for multiple reasons. My point is this: you and I rose to the aid of Olympus because you convinced me to let go of my anger. I would encourage you to do likewise. My children are so rarely happy. I β¦ I would like to see you be an exception.β
Nico stared at his father. He didnβt know what to do with that statement. He could accept many unreal things β hordes of ghosts, magical labyrinths, travel through shadows, chapels made of bones. But tender words from the Lord of the Underworld?
No. That made no sense.
β
β
Rick Riordan (The Blood of Olympus (The Heroes of Olympus, #5))
β
There are moments in life when it is all turned inside out--what is real becomes unreal, what is unreal becomes tangible, and all your levelheaded efforts to keep a tight ontological control are rendered silly and indulgent.
β
β
Aleksandar Hemon (The Lazarus Project)
β
Each day had a tranquility a timelessness about it so that you wished it would never end. But then the dark skin of the night would peel off and there would be a fresh day waiting for us glossy and colorful as a child's transfer and with the same tinge of unreality.
β
β
Gerald Durrell (My Family and Other Animals (Corfu Trilogy, #1))
β
The only one everlasting love is the unrealized one. The love to this thing that youβd never had. Behind it is hidden the love to your own ego and feelings.
β
β
Alexandar Tomov (Unexpected Tales from the Ends of the Earth)
β
Step out of your comfort zone. Comfort zones, where your unrealized dreams are buried, are the enemies of achievement. Leadership begins when you step outside your comfort zone.
β
β
Roy T. Bennett
β
I had gone to no such place but to the smoke of cafes and nights when the room whirled and you needed to look at the wall to make it stop, nights in bed, drunk, when you knew that that was all there was, and the strange excitement of waking and not knowing who it was with you, and the world all unreal in the dark and so exciting that you must resume again unknowing and not caring in the night, sure that this was all and all and all and not caring.
β
β
Ernest Hemingway (A Farewell to Arms)
β
But it is important to know this, to know your roots. To know where you started as a person. If not, your own life seems unreal to you.
β
β
Khaled Hosseini (And the Mountains Echoed)
β
Truth becomes fiction when the fiction's true;
Real becomes not-real where the unreal's real.
β
β
Cao Xueqin (The Story of the Stone, or The Dream of the Red Chamber, Vol. 1: The Golden Days)
β
My hopes for a relationship with her were wholly unreal, whereas my ongoing misery, and frustration, were an all-too-horrible reality. Was groundless, hopeless romantic obsession any way to waste the rest of my life?
β
β
Donna Tartt (The Goldfinch)
β
While the flowers, pale and unreal in the moonlight, floated away upon the river; and thus do greater things that once were in our breasts, and near our hearts, flow from us to the eternal sea.
β
β
Charles Dickens (Little Dorrit)
β
As I rolled over, stretching out, my only thought was to go back to the dream I'd been having, which I couldn't remember, other than that it had been good, in that distant, hopeful way unreal things can be.
β
β
Sarah Dessen
β
The music enchanted the air. It was like the south wind, like a warm night, like swelling sails beneath the stars, completely and utterly unreal... It made everything spacious and colourful, the dark stream of life seemed pulsing in it; there were no burdens any more, no limits; there existed only glory and melody and love, so that one simply could not realize that, at the same time as this music was, outside there ruled poverty and torment and despair.
β
β
Erich Maria Remarque (Three Comrades)
β
Instead of remaining stuck amidst the ruins of the past, mired in unfulfilled hopes and unrealized ambitions, and focusing solely on what has failed, we must look outward and forward to confront challenges head-on and harness our inner strength and resilience. ( "The world was somewhere else")
β
β
Erik Pevernagie
β
The fog was where I wanted to be. Halfway down the path you canβt see this house. Youβd never know it was here. Or any of the other places down the avenue. I couldnβt see but a few feet ahead. I didnβt meet a soul. Everything looked and sounded unreal. Nothing was what it is. Thatβs what I wantedβto be alone with myself in another world where truth is untrue and life can hide from itself. Out beyond the harbor, where the road runs along the beach, I even lost the feeling of being on land. The fog and the sea seemed part of each other. It was like walking on the bottom of the sea. As if I had drowned long ago. As if I was the ghost belonging to the fog, and the fog was the ghost of the sea. It felt damned peaceful to be nothing more than a ghost within a ghost.
β
β
Eugene O'Neill (Long Dayβs Journey into Night)
β
Men are free when they are obeying some deep, inward voice of religious belief. Obeying from within. Men are free when they belong to a living, organic, believing community, active in fulfilling some unfulfilled, perhaps unrealized purpose. Not when they are escaping to some wild west. The most unfree souls go west, and shout of freedom.
β
β
D.H. Lawrence (Studies in Classic American Literature)
β
(It starts with)
One thing, I donβt know why
It doesnβt even matter how hard you try
Keep that in mind, I designed this rhyme
To explain in due time
All I know
time is a valuable thing
Watch it fly by as the pendulum swings
Watch it count down to the end of the day
The clock ticks life away
Itβs so unreal
Didnβt look out below
Watch the time go right out the window
Trying to hold on but didnβt even know
Wasted it all just to
Watch you go
I kept everything inside and even though I tried, it all fell apart
What it meant to me will eventually be a memory of a time when I tried so hard
And got so far
But in the end
It doesn't even matter
I had to fall
To lose it all
But in the end
It doesn't even matter
β
β
Linkin Park
β
A sweet gum tree is the chameleon of wood, itβs corky exterior hiding itβs inner ability to imitate anything from cherry to mahogany. But itβs real value, one unrealized by most people, is itβs deep red heart, steady and strong.
β
β
Katherine Allred (The Sweet Gum Tree)
β
The most unreal thing about the bar was Taylor Swiftβs βBlank Spaceβ blasting from the speakers.
βDwarves like human music?β I asked Blitzen.
βYou mean humans like our music.β
βBut β¦β I had a sudden image of Taylor Swiftβs mom and Freya having a girlsβ night out in Nidavellir. βNever mind.
β
β
Rick Riordan (The Sword of Summer (Magnus Chase and the Gods of Asgard, #1))
β
Our minds are all we have. They are all we have ever had. And they are all we can offer others. This might not be obvious, especially when there are aspects of your life that seem in need of improvementβwhen your goals are unrealized, or you are struggling to find a career, or you have relationships that need repairing. But itβs the truth. Every experience you have ever had has been shaped by your mind. Every relationship is as good or as bad as it is because of the minds involved. If you are perpetually angry, depressed, confused, and unloving, or your attention is elsewhere, it wonβt matter how successful you become or who is in your lifeβyou wonβt enjoy any of it.
β
β
Sam Harris (Waking Up: A Guide to Spirituality Without Religion)
β
But what if God himself can be simulated, that is to say can be reduced to signs that constitute faith? Then the whole system becomes weightless, it is no longer anything but a gigantic simulacrum - not unreal, but simulacrum, that is to say never exchanged for the real, but exchanged for itself, in an uninterrupted circuit without reference or circumference.
β
β
Jean Baudrillard (Simulacra and Simulation)
β
The past exists only in our memories, the future only in our plans. The present is our only reality. The tree that you are aware of intellectually, because of that small time lag, is always in the past and therefore is always unreal. Any intellectually conceived object is always in the past and therefore unreal. Reality is always the moment of vision before the intellectualization takes place. There is no other reality.
β
β
Robert M. Pirsig (Zen and the Art of Motorcycle Maintenance: An Inquiry Into Values (Phaedrus, #1))
β
Want of imagination makes things unreal enough to be destroyed. By imagination I mean knowledge and love. I mean compassion. People of power kill children, the old send the young to die, because they have no imagination. They have power. Can you have power and imagination at the same time? Can you kill people you donβt know and have compassion for them at the same time?
β
β
Wendell Berry (Hannah Coulter)
β
I wanted very much not to be where I was. In fact part of the trouble seemed to be that where I was wasn't anywhere at all. My life felt empty and unreal and I was embarrassed about its thinness, the way one might be embarrassed about wearing a stained or threadbare piece of clothing.
β
β
Olivia Laing (The Lonely City: Adventures in the Art of Being Alone)
β
I wanted very much not to be where I was. In fact part of the trouble seemed to be that where I was wasnβt anywhere at all. My life felt empty and unreal... I felt like I was in danger of vanishing, though at the same time the feelings I had were so raw and overwhelming that I often wished I could find a way of losing myself altogether, perhaps for a few months, until the intensity diminished.
β
β
Olivia Laing (The Lonely City: Adventures in the Art of Being Alone)
β
Esoterically, the Hanged Man is the human spirit which is suspended from heaven by a single thread. Wisdom, not death, is the reward for this voluntary sacrifice during which the human soul, suspended above the world of illusion, and meditating upon its unreality, is rewarded by the achievement of self-realization.
β
β
Manly P. Hall (The Secret Teachings of All Ages)
β
There was no God in his heart, he knew; his ideas were still in riot;
there was ever the pain of memory; the regret for his lost youth-yet the
waters of disillusion had left a deposit on his soul, responsibility and a
love of life, the faint stirring of old ambitions and unrealized
dreams......
And he could not tell why the struggle was worth while, why he had
determined to use to the utmost himself and his heritage from the
personalities he had passed...
He stretched out his arms to the crystalline, radiant sky.
I know myself," he cried, "but that is all.
β
β
F. Scott Fitzgerald (This Side of Paradise)
β
The things we see," Pistorius said softly, "are the same things that are within us. There is no reality except the one contained within us. That is why so many people live such an unreal life. They take the images outside them for reality and never allow the world within to assert itself. You can be happy that way. But once you know the other interpretation you no longer have the choice of following the crowd. Sinclair, the majority's path is an easy one, ours is difficult.
β
β
Hermann Hesse (Demian)
β
That night at the hotel, in our room with the long empty hall outside and our shoes outside the door, a thick carpet on the floor of the room, outside the windows the rain falling and in the room light and pleasant and cheerful, then the light out and it exciting with smooth sheets and the bed comfortable, feeling that we had come home, feeling no longer alone, waking in the night to find the other one there, and not gone away; all other things were unreal. We slept when we were tired and if we woke the other one woke too so one was not alone. Often a man wishes to be alone and a girl wishes to be alone too and if they love each other they are jealous of that in each other, but I can truly say we never felt that. We could feel alone when we were together, alone against the others ... But we were never lonely and never afraid when we were together. I know that the night is not the same as the day: that all things are different, that the things of the night cannot be explained in the day, because they do not then exist, and the night can be a dreadful time for lonely people once their loneliness has started. But with Catherine there was almost no difference in the night except that it was an even better time. If people bring so much courage to the world the world has to kill them to break them, so of course it kills them. The world breaks every one and afterward many are strong at the broken places. But those that will not break it kills. It kills the very good and the very gentle and the very brave impartially. If you are none of these you can be sure it will kill you too but there will be no special hurry.
β
β
Ernest Hemingway (A Farewell to Arms)
β
Before I was shot, I always thought that I was more half-there than all-there β I always suspected that I was watching TV instead of living life. People sometimes say that the way things happen in movies is unreal, but actually it's the way things happen in life that's unreal. The movies make emotions look so strong and real, whereas when things really do happen to you, it's like watching television β you don't feel anything. Right when I was being shot and ever since, I knew that I was watching television. The channels switch, but it's all television.
β
β
Andy Warhol
β
There were plotters, there was no doubt about it. Some had been ordinary people who'd had enough. Some were young people with no money who objected to the fact that the world was run by old people who were rich. Some were in it to get girls. And some had been idiots as mad as Swing, with a view of the world just as rigid and unreal, who were on the side of what they called 'the people'. Vimes had spent his life on the streets, and had met decent men and fools and people who'd steal a penny from a blind beggar and people who performed silent miracles or desperate crimes every day behind the grubby windows of little houses, but he'd never met The People.
People on the side of The People always ended up disappointed, in any case. They found that The People tended not to be grateful or appreciative or forward-thinking or obedient. The People tended to be small-minded and conservative and not very clever and were even distrustful of cleverness. And so the children of the revolution were faced with the age-old problem: it wasn't that you had the wrong kind of government, which was obvious, but that you had the wrong kind of people.
As soon as you saw people as things to be measured, they didn't measure up. What would run through the streets soon enough wouldn't be a revolution or a riot. It'd be people who were frightened and panicking. It was what happened when the machinery of city life faltered, the wheels stopped turning and all the little rules broke down. And when that happened, humans were worse than sheep. Sheep just ran; they didn't try to bite the sheep next to them.
β
β
Terry Pratchett (Night Watch (Discworld, #29; City Watch, #6))
β
What makes you a real girl or boy is that no one laughs at you. If you are imitation or unreal, the rules give you a right to exist provided you do what the real ones or brutes say. What makes you into me or Charles Morgan is that the rules allow all the girls to be better than me and all the boys better than Charles Morgan.
β
β
Diana Wynne Jones (Witch Week (Chrestomanci, #3))
β
She is brave and strong and broken all at once. As she speaks it is as if her existence is no longer real to her in itself, more like a living epitaph to a life that was.
β
β
Anna Funder (Stasiland: Stories from Behind the Berlin Wall)
β
Barack intrigued me. He was not like anyone Iβd dated before, mainly because he seemed so secure. He was openly affectionate. He told me I was beautiful. He made me feel good. To me, he was sort of like a unicornβunusual to the point of seeming almost unreal. He never talked about material things, like buying a house or a car or even new shoes. His money went largely toward books, which to him were like sacred objects, providing ballast for his mind. He read late into the night, often long after Iβd fallen asleep, plowing through history and biographies and Toni Morrison, too. He read several newspapers daily, cover to cover. He kept tabs on the latest book reviews, the American League standings, and what the South Side aldermen were up to. He could speak with equal passion about the Polish elections and which movies Roger Ebert had panned and why.
β
β
Michelle Obama (Becoming)
β
Objects and their functions no longer had any significance. All I perceived was perception itself, the hell of forms and figures devoid of human emotion and detached from the reality of my unreal environment. I was an instrument in a virtual world that constantly renewed its own meaningless image in a living world that was itself perceived outside of nature. And since the appearance of things was no longer definitive but limitless, this paradisiacal awareness freed me from the reality external to myself. The fire and the rose, as it were, became one.
β
β
Federico Fellini
β
Humanity does not suffer from the disease of wrong beliefs but humanity suffers from the contagious nature of the lack of belief. If you have no magic with you it is not because magic does not exist but it is because you do not believe in it. Even if the sun shines brightly upon your skin every day, if you do not believe in the sunlight, the sunlight for you does not exist.
β
β
C. JoyBell C.
β
Were they aware, in the intensity of their embrace, of something slightly ridiculous about this tableau, something almost comical, as someone nearby sneezed violently into a crumpled tissue; as a dirty discarded plastic bottle scuttled along the platform under a breath of wind; as a mechanised billboard on the station wall rotated from an advertisement for hair products to an advertisement for car insurance; as life in its ordinariness and even ugly vulgarity imposed itself everywhere all around them? Or were they in this moment unaware, or something more than unawareβwere they somehow invulnerable to, untouched by, vulgarity and ugliness, glancing for a moment into something deeper, something concealed beneath the surface of life, not unreality but a hidden reality: the presence at all times, in all places, of a beautiful world?
β
β
Sally Rooney (Beautiful World, Where Are You)
β
There are few of us who have not sometimes wakened before dawn, either after one of those dreamless nights that make us almost enamoured of death, or one of those nights of horror and misshapen joy, when through the chambers of the brain sweep phantoms more terrible than reality itself, and instinct with that vivid life that lurks in all grotesques, and that lends to Gothic art its enduring vitality, this art being, one might fancy, especially the art of those whose minds have been troubled with the malady of reverie. Gradually white fingers creep through the curtains, and they appear to tremble. In black fantastic shapes, dumb shadows crawl into the corners of the room and crouch there. Outside, there is the stirring of birds among the leaves, or the sound of men going forth to their work, or the sigh and sob of the wind coming down from the hills and wandering round the silent house, as though it feared to wake the sleepers and yet must needs call forth sleep from her purple cave. Veil after veil of thin dusky gauze is lifted, and by degrees the forms and colours of things are restored to them, and we watch the dawn remaking the world in its antique pattern. The wan mirrors get back their mimic life. The flameless tapers stand where we had left them, and beside them lies the half-cut book that we had been studying, or the wired flower that we had worn at the ball, or the letter that we had been afraid to read, or that we had read too often. Nothing seems to us changed. Out of the unreal shadows of the night comes back the real life that we had known. We have to resume it where we had left off, and there steals over us a terrible sense of the necessity for the continuance of energy in the same wearisome round of stereotyped habits, or a wild longing, it may be, that our eyelids might open some morning upon a world that had been refashioned anew in the darkness for our pleasure, a world in which things would have fresh shapes and colours, and be changed, or have other secrets, a world in which the past would have little or no place, or survive, at any rate, in no conscious form of obligation or regret, the remembrance even of joy having its bitterness and the memories of pleasure their pain.
β
β
Oscar Wilde (The Picture of Dorian Gray)
β
Itβs rigged β everything, in your favor.
So there is nothing to worry about.
Is there some position you want,
some office, some acclaim, some award, some con, some lover,
maybe two, maybe three, maybe four β all at once,
maybe a relationship
with
God?
I know there is a gold mine in you, when you find it
the wonderment of the earthβs gifts
you will lay aside
as naturally as does
a child a
doll.
But, dear, how sweet you look to me kissing the unreal:
comfort, fulfill yourself,
in any way possible β do that until
you ache, until you ache,
then come to me
again.
β
β
Jalal ad-Din Muhammad ar-Rumi
β
I believe these stories exist because we sometimes need to create unreal monsters and bogies to stand in for all the things we fear in our real lives: the parent who punches instead of kissing, the auto accident that takes a loved one, the cancer we one day discover living in our own bodies. If such terrible occurrences were acts of darkness, they might actually be easier to cope with. But instead of being dark, they have their own terrible brilliance. . . and none shine so bright as the acts of cruelty we sometimes perpetrate in our own families.
β
β
Stephen King
β
Oh God just look at me now... one night opens words and utters pain... I cannot begin to explain to you... this... I am not here. This is not happening. Oh wait, it is, isn't it?
I am a ghost. I am not here, not really. You see skin and cuts and frailty...these are symptoms, you known, of a ghost. An unclear image with unclear thoughts whispering vague things...
If I told you what was really in my head, you''d never let me leave this place. And I have no desire to spend time in hell while I'm still, in theory, alive.
β
β
Emily Andrews (The Finer Points of Becoming Machine (Cutting Edge))
β
Everyone of us is shadowed by an illusory person: a false self..We are not very good at recognizing illusions, least of all the ones we cherish about ourselves. (34) Contemplation is not and cannot be a function of this external self. There is an irreducible opposition between the deep transcendent self that awakens only in contemplation, and the superficial, external self which we commonly identify with the first person singular.(7) Our reality, our true self, is hidden in what appears to us to be nothingness....We can rise above this unreality and recover our hidden reality....(281) God Himself begins to live in me not only as my Creator but as my other and true self. (41)
β
β
Thomas Merton (New Seeds of Contemplation)
β
The Skin Horse had lived longer in the nursery than any of the others. He was so old that his brown coat was bald in patches and showed the seams underneath, and most of the hairs in his tail had been pulled out to string bead necklaces. He was wise, for he had seen a long succession of mechanical toys arrive to boast and swagger, and by-and-by break their mainsprings and pass away, and he knew that they were only toys, and would never turn into anything else. For nursery magic is very strange and wonderful, and only those playthings that are old and wise and experienced like the Skin Horse understand all about it.
"What is REAL?" asked the Rabbit one day, when they were lying side by side near the nursery fender, before Nana came to tidy the room. "Does it mean having things that buzz inside you and a stick-out handle?"
"Real isn't how you are made," said the Skin Horse. "It's a thing that happens to you. When a child loves you for a long, long time, not just to play with, but REALLY loves you, then you become Real."
"Does it hurt?" asked the Rabbit.
"Sometimes," said the Skin Horse, for he was always truthful. "When you are Real you don't mind being hurt."
"Does it happen all at once, like being wound up," he asked, "or bit by bit?"
"It doesn't happen all at once," said the Skin Horse. "You become. It takes a long time. That's why it doesn't happen often to people who break easily, or have sharp edges, or who have to be carefully kept. Generally, by the time you are Real, most of your hair has been loved off, and your eyes drop out and you get loose in the joints and very shabby. But these things don't matter at all, because once you are Real you can't be ugly, except to people who don't understand."
"I suppose you are real?" said the Rabbit. And then he wished he had not said it, for he thought the Skin Horse might be sensitive. But the Skin Horse only smiled.
"The Boy's Uncle made me Real," he said. "That was a great many years ago; but once you are Real you can't become unreal again. It lasts for always.
β
β
Margery Williams Bianco (The Velveteen Rabbit)
β
The Ten Commandments that, as a teacher, I should wish to promulgate, might be set forth as follows:
1- Do not feel absolutely certain of anything.
2- Do not think it worth while to proceed by concealing evidence, for the evidence is sure to come to light.
3- Never try to discourage thinking for you are sure to succeed.
4- When you meet with opposition, even if it should be from your husband or your children, endeavor to overcome it by argument and not by authority, for a victory dependent upon authority is unreal and illusory.
5- Have no respect for the authority of others, for there are always contrary authorities to be found.
6- Do not use power to suppress opinions you think pernicious, for if you do the opinions will suppress you.
7- Do not fear to be eccentric in opinion, for every opinion now accepted was once eccentric.
8- Find more pleasure in intelligent dissent than in passive agreement, for, if you value intelligence as you should, the former implies a deeper agreement than the latter.
9- Be scrupulously truthful, even if the truth is inconvenient, for it is more inconvenient when you try to conceal it.
10- Do not feel envious of the happiness of those who live in a foolβs paradise, for only a fool will think that it is happiness.
β
β
Bertrand Russell
β
Fiction is written with reality and reality is written with fiction. We can write fiction because there is reality and we can write reality because there is fiction; everything we consider today to be myth and legend, our ancestors believed to be history and everything in our history includes myths and legends. Before the splendid modern-day mind was formed our cultures and civilizations were conceived in the wombs of, and born of, what we identify today as "fiction, unreality, myth, legend, fantasy, folklore, imaginations, fabrications and tall tales." And in our suddenly realized glory of all our modern-day "advancements" we somehow fail to ask ourselves the question "Who designated myths and legends as unreality? " But I ask myself this question because who decided that he was spectacular enough to stand up and say to our ancestors "You were all stupid and disillusioned and imagining things" and then why did we all decide to believe this person? There are many realities not just one. There is a truth that goes far beyond what we are told today to believe in. And we find that truth when we are brave enough to break away from what keeps everybody else feeling comfortable. Your reality is what you believe in. And nobody should be able to tell you to believe otherwise.
β
β
C. JoyBell C.
β
It would be well to realize that the talk of βhumane methods of warfareβ, of the βrules of civilized warfareβ, and all such homage to the finer sentiments of the race are hypocritical and unreal, and only intended for the consumption of stay-at-homes. There are no humane methods of warfare, there is no such thing as civilized warfare; all warfare is inhuman, all warfare is barbaric; the first blast of the bugles of war ever sounds for the time being the funeral knell of human progressβ¦ What lover of humanity can view with anything but horror the prospect of this ruthless destruction of human life. Yet this is war: war for which all the jingoes are howling, war to which all the hopes of the world are being sacrificed, war to which a mad ruling class would plunge a mad world.
β
β
James Connolly
β
we all seem to function in the exact same way: We hurt people, and we are hurt by people. We feel left out, envious, not good enough, sick, and tired. We have unrealized dreams and deep regrets. We are certain that we were meant for more and that we donβt even deserve what we have. We feel ecstatic and then numb. We wish our parents had done better by us. We wish we could do better by our children. We betray and we are betrayed. We lie and we are lied to. We say good-bye to animals, to places, to people we cannot live without. We are so afraid of dying. Also: of living. We have fallen in love and out of love, and people have fallen in love and out of love with us. We wonder if what happened to us that night will mean we can never be touched again without fear. We live with rage bubbling. We are sweaty, bloated, gassy, oily. We love our children, we long for children, we do not want children. We are at war with our bodies, our minds, our souls. We are at war with one another. We wish weβd said all those things while they were still here. Theyβre still here, and weβre still not saying those things. We know we wonβt. We donβt understand ourselves. We donβt understand why we hurt those we love. We want to be forgiven. We cannot forgive. We donβt understand God. We believe. We absolutely do not believe. We are lonely. We want to be left alone. We want to belong. We want to be loved. We want to be loved. We want to be loved.
β
β
Glennon Doyle (Untamed)
β
Once upon a time there was a young prince who believed in all things but three. He did not believe in princesses, he did not believe in islands, he did not believe in God. His father, the king, told him that such things did not exist. As there were no princesses or islands in his father's domains, and no sign of God, the young prince believed his father.
But then, one day, the prince ran away from his palace. He came to the next land. There, to his astonishment, from every coast he saw islands, and on these islands, strange and troubling creatures whom he dared not name. As he was searching for a boat, a man in full evening dress approached him along the shore.
Are those real islands?' asked the young prince.
Of course they are real islands,' said the man in evening dress.
And those strange and troubling creatures?'
They are all genuine and authentic princesses.'
Then God must exist!' cried the prince.
I am God,' replied the man in full evening dress, with a bow.
The young prince returned home as quickly as he could.
So you are back,' said the father, the king.
I have seen islands, I have seen princesses, I have seen God,' said the prince reproachfully.
The king was unmoved.
Neither real islands, nor real princesses, I have seen God,' said the prince reproachfully.
The king was unmoved.
Neither real islands, nor real princesses, nor a real God exist.'
I saw them!'
Tell me how God was dressed.'
God was in full evening dress.'
Were the sleeves of his coat rolled back?'
The prince remembered that they had been. The king smiled.
That is the uniform of a magician. You have been deceived.'
At this, the prince returned to the next land, and went to the same shore, where once again he came upon the man in full evening dress.
My father the king has told me who you are,' said the young prince indignantly. 'You deceived me last time, but not again. Now I know that those are not real islands and real princesses, because you are a magician.'
The man on the shore smiled.
It is you who are deceived, my boy. In your father's kingdom there are many islands and many princesses. But you are under your father's spell, so you cannot see them.'
The prince pensively returned home. When he saw his father, he looked him in the eyes.
Father, is it true that you are not a real king, but only a magician?'
The king smiled, and rolled back his sleeves.
Yes, my son, I am only a magician.'
Then the man on the shore was God.'
The man on the shore was another magician.'
I must know the real truth, the truth beyond magic.'
There is no truth beyond magic,' said the king.
The prince was full of sadness.
He said, 'I will kill myself.'
The king by magic caused death to appear. Death stood in the door and beckoned to the prince. The prince shuddered. He remembered the beautiful but unreal islands and the unreal but beautiful princesses.
Very well,' he said. 'I can bear it.'
You see, my son,' said the king, 'you too now begin to be a magician.
β
β
John Fowles
β
The first time he had taken the massa to one of these "high-falutin' to-dos," as Bell called them, Kunta had been all but overwhelmed by conflicting emotions: awe, indignation, envy, contempt, fascination, revulsionβbut most of all a deep loneliness and melancholy from which it took him almost a week to recover. He couldn't believe that such incredible wealth actually existed, that people really lived that way. It took him a long time, and a great many more parties, to realize that they didn't live that way, that it was all strangely unreal, a kind of beautiful dream the white folks were having, a lie they were telling themselves: that goodness can come from badness, that it's possible to be civilized with one another without treating as human beings those whose blood, sweat, and mother's milk made possible the life of privilege they led.
β
β
Alex Haley (Roots: The Saga of an American Family)
β
Everything is possible, and yet nothing is. All is permitted, and yet again, nothing. No matter which way we go, it is no better than any other. It is all the same whether you achieve something or not, have faith or not, just as it is all the same whether you cry or remain silent. There is an explanation for everything, and yet there is none. Everything is both real and unreal, normal and absurd, splendid and insipid. There is nothing worth more than anything else, nor any idea better than any other. Why grow sad from oneβs sadness and delight in oneβs joy? What does it matter whether our tears come from pleasure or pain? Love your unhappiness and hate your happiness, mix everything up, scramble it all! Be a snowflake dancing in the air, a flower floating downstream! Have courage when you donβt need to, and be a coward when you must be brave! Who knows? You may still be a winner! And if you lose, does it really matter? Is there anything to win in this world? All gain is a loss, and all loss is a gain. Why always expect a definite stance, clear ideas, meaningful words? I feel as if I should spout fire in response to all the questions which were ever put, or not put, to me.
β
β
Emil M. Cioran (On the Heights of Despair)
β
In regard to propaganda the early advocates of universal literacy and a free press envisaged only two possibilities: the propaganda might be true, or the propaganda might be false. They did not foresee what in fact has happened, above all in our Western capitalist democracies - the development of a vast mass communications industry, concerned in the main neither with the true nor the false, but with the unreal, the more or less totally irrelevant. In a word, they failed to take into account man's almost infinite appetite for distractions.
In the past most people never got a chance of fully satisfying this appetite. They might long for distractions, but the distractions were not provided. Christmas came but once a year, feasts were "solemn and rare," there were few readers and very little to read, and the nearest approach to a neighborhood movie theater was the parish church, where the performances though frequent, were somewhat monotonous. For conditions even remotely comparable to those now prevailing we must return to imperial Rome, where the populace was kept in good humor by frequent, gratuitous doses of many kinds of entertainment - from poetical dramas to gladiatorial fights, from recitations of Virgil to all-out boxing, from concerts to military reviews and public executions. But even in Rome there was nothing like the non-stop distractions now provided by newspapers and magazines, by radio, television and the cinema. In "Brave New World" non-stop distractions of the most fascinating nature are deliberately used as instruments of policy, for the purpose of preventing people from paying too much attention to the realities of the social and political situation. The other world of religion is different from the other world of entertainment; but they resemble one another in being most decidedly "not of this world." Both are distractions and, if lived in too continuously, both can become, in Marx's phrase "the opium of the people" and so a threat to freedom. Only the vigilant can maintain their liberties, and only those who are constantly and intelligently on the spot can hope to govern themselves effectively by democratic procedures. A society, most of whose members spend a great part of their time, not on the spot, not here and now and in their calculable future, but somewhere else, in the irrelevant other worlds of sport and soap opera, of mythology and metaphysical fantasy, will find it hard to resist the encroachments of those would manipulate and control it.
β
β
Aldous Huxley (Brave New World Revisited)
β
The war, therefore if we judge it by the standards of previous wars, is merely an imposture. It is like the battles between certain ruminant animals whose horns are incapable of hurting one another. But though it is unreal it is not meaningless. It eats up the surplus of consumable goods, and it helps to preserve the special mental atmosphere that the hierarchical society needs. War, it will be seen, is now a purely internal affair. In the past, the ruling groups of all countries, although they might recognize their common interest and therefore limit the destructiveness of war, did fight against one another, and the victor always plundered the vanquished. In our own day they are not fighting against one another at all. The war is waged by each ruling group against its own subjects, and the object of the war is not to make or prevent conquests of territory, but to keep the structure of society intact. The very word "war," therefore, has become misleading. It would probably be accurate to say that by becoming continuous war has ceased to exist. The peculiar pressure that is exerted on human beings between the Neolithic Age and the early twentieth century has disappeared and has been replaced by something quite different. The effect would be much the same if the three superstates, instead of fighting one another, should agree to live in perpetual peace, each inviolate within its own boundaries. For in that case each would still be a self-contained universe, freed forever from the sobering influence of external danger. A peace that was truly permanent would be the same as a permanent war. This--although the vast majority of Party members understand it only in a shallower sense--is the inner meaning of the Party slogan: WAR IS PEACE.
β
β
George Orwell (1984)
β
You fight your superficiality, your shallowness, so as to try to come at people without unreal expectations, without an overload of bias or hope or arrogance, as untanklike as you can be, sans cannon and machine guns and steel plating half a foot thick; you come at them unmenacingly on your own ten toes instead of tearing up the turf with your caterpillar treads, take them on with an open mind, as equals, man to man, as we used to say, and yet you never fail to get them wrong. You might as well have the "brain" of a tank. You get them wrong before you meet them, while you're anticipating meeting them; you get them wrong while you're with them; and then you go home to tell somebody else about the meeting and you get them all wrong again. Since the same generally goes for them with you, the whole thing is really a dazzling illusion empty of all perception, an astonishing farce of misperception. And yet what are we to do about this terribly significant business of "other people," which gets bled of the significance we think it has and takes on instead a significance that is ludicrous, so ill-equipped are we all to envision one another's interior workings and invisible aims? Is everyone to go off and lock the door and sit secluded like the lonely writers do, in a soundproof cell, summoning people out of words and then proposing that these word people are closer to the real thing than the real people that we mangle with our ignorance every day? The fact remains that getting people right is not what living is all about anyway. It's getting them wrong that is living, getting them wrong and wrong and wrong and then, on careful reconsideration, getting them wrong again. That's how we know we're alive: we're wrong. Maybe the best thing would be to forget being right or wrong about people and just go along for the ride. But if you can do that--well, lucky you.
β
β
Philip Roth (American Pastoral)
β
The porn films are not about sex. Sex is airbrushed and digitally washed out of the films. There is no acting because none of the women are permitted to have what amounts to a personality. The one emotion they are allowed to display is an unquenchable desire to satisfy men, especially if that desire involves the womenβs physical and emotional degradation. The lightning in the films is harsh and clinical. Pubic hair is shaved off to give the women the look of young girls or rubber dolls. Porn, which advertises itself as sex, is a bizarre, bleached pantomime of sex. The acts onscreen are beyond human endurance. The scenarios are absurd. The manicured and groomed bodies, the huge artificial breasts, the pouting oversized lips, the erections that never go down, and the sculpted bodies are unreal. Makeup and production mask blemishes. There are no beads of sweat, no wrinkle lines, no human imperfections. Sex is reduced to a narrow spectrum of sterilized dimensions. It does not include the dank smell of human bodies, the thump of a pulse, taste, breathβor tenderness. Those in films are puppets, packaged female commodities. They have no honest emotion, are devoid of authentic human beauty, and resemble plastic. Pornography does not promote sex, if one defines sex as a shared act between two partners. It promotes masturbation. It promotes the solitary auto-arousal that precludes intimacy and love. Pornography is about getting yourself off at someone elseβs expense.
β
β
Chris Hedges (Empire of Illusion: The End of Literacy and the Triumph of Spectacle)
β
I recall how miserable I was, and how one day you brought me to a realization of my miserable state. I was preparing to deliver a eulogy upon the emperor in which I would tell plenty of lies with the object of winning favor with the well-informed by my lying; so my heart was panting with anxiety and seething with feverish, corruptive thoughts. As I passed through a certain district in Milan I noticed a poor beggar, drunk, as I believe, and making merry. I groaned and pointed out to the friends who were with me how many hardships our idiotic enterprises entailed. Goaded by greed, I was dragging my load of unhappiness along, and feeling it all the heavier for being dragged. Yet while all our efforts were directed solely to the attainment of unclouded joy, it appeared that this beggar had already beaten us to the goal, a goal which we would perhaps never reach ourselves. With the help of the few paltry coins he had collected by begging this man was enjoying the temporal happiness for which I strove by so bitter, devious and roundabout a contrivance. His joy was no true joy, to be sure, but what I was seeking in my ambition was a joy far more unreal; and he was undeniably happy while I was full of foreboding; he was carefree, I apprehensive. If anyone had questioned me as to whether I would rather be exhilarated or afraid, I would of course have replied, "Exhilarated"; but if the questioner had pressed me further, asking whether I preferred to be like the beggar, or to be as I was then, I would have chosen to be myself, laden with anxieties and fears. Surely that would have been no right choice, but a perverse one? I could not have preferred my condition to his on the grounds that I was better educated, because that fact was not for me a source of joy but only the means by which I sought to curry favor with human beings: I was not aiming to teach them but only to win their favor.
β
β
Augustine of Hippo (Confessions)
β
Yes,' he said, 'a list. That way, I figure, we'll have a written record of what we've agreed upon as our goals for our relationship. So if problems arise, we'll be able to consult the lists, see which issue it corresponds to, and work out a solution from there.'
I could still hear my sister talking, but her voice was fading as she led her group around the house. I said, 'But what if that doesn't work?'
Jason blinked at me. Then he said, 'Why wouldn't it?'
'Because,' I said.
He just looked at me. 'Because...'
'Because,' I repeated, as a breeze blew over us,' sometimes things just happen. That aren't expected. Or on the list.'
'Such as?' he asked.
'I don't know,' I said, frustrated. 'That's the point. It would be out of the blue, taking us by surprise. Something we might not be prepared for.'
'But we will be prepared,' he said, confused. 'We'll have the list.'
I rolled my eyes. 'Jason,' I said.
'Macy, I'm sorry.' He stepped back, looking at me. 'I just don't understand what you're trying to say.'
And then it hit me: he didn't. He had no idea. And this thought was so ludicrous, so completely unreal, that I knew it just had to be true. For Jason, there was no unexpected, no surprises. His whole life was outlined carefully, in lists and sublists, just like the ones I'd helped him go through all those weeks ago.
'It's just...' I said and stopped, shaking my head.
'It's just what?' He was waiting, genuinely wanting to know. 'Explain it to me.'
But I couldn't. I'd had to learn it my own way, and so had my mother. Jason would eventually, as well. No one could tell you: you just had to go through it on your own. If you were lucky, you came out on the other side and understood. If you didn't, you kept getting thrust back, retracing those steps, until you finally got it right.
β
β
Sarah Dessen (The Truth About Forever)
β
The hoopoe said: 'Your heart's congealed like ice;
When will you free yourself from cowardice?
Since you have such a short time to live here,
What difference does it make? What should you fear?
The world is filth and sin, and homeless men
Must enter it and homeless leave again.
They die, as worms, in squalid pain; if we
Must perish in this quest, that, certainly,
Is better than a life of filth and grief.
If this great search is vain, if my belief
Is groundless, it is right that I should die.
So many errors throng the world - then why
Should we not risk this quest? To suffer blame
For love is better than a life of shame.
No one has reached this goal, so why appeal
To those whose blindness claims it is unreal?
I'd rather die deceived by dreams than give
My heart to home and trade and never live.
We've been and heard so much - what have we learned?
Not for one moment has the self been spurned;
Fools gather round and hinder our release.
When will their stale, insistent whining cease?
We have no freedom to achieve our goal
Until from Self and fools we free the soul.
To be admitted past the veil you must
Be dead to all the crowd considers just.
Once past the veil you understand the Way
From which the crowd's glib courtiers blindly stray.
If you have any will, leave women's stories,
And even if this search for hidden glories
Proves blasphemy at last, be sure our quest
Is not mere talk but an exacting test.
The fruit of love's great tree is poverty;
Whoever knows this knows humility.
When love has pitched his tent in someone's breast,
That man despairs of life and knows no rest.
Love's pain will murder him and blandly ask
A surgeon's fee for managing the task -
The water that he drinks brings pain, his bread
Is turned to blood immediately shed;
Though he is weak, faint, feebler than an ant,
Love forces him to be her combatant;
He cannot take one mouthful unaware
That he is floundering in a sea of care.
β
β
Attar of Nishapur