Unreal World Quotes

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.

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.

The more real you get the more unreal the world gets.

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.

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.

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.

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.

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 ‘the farce we all must play’. But for an instant – because of a wild music, or a drug, or the sexual act carried to its climax – 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

An unreal world was much bigger than a real world, and there was more than enough room in it to be yourself and not yourself at the same time.

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.

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")

Really unreal world, will you perhaps do the breathing for me while I am away?

The fog was where I wanted to be. Halfway down the path you can’t see this house. You’d never know it was here. Or any of the other places down the avenue. I couldn’t see but a few feet ahead. I didn’t meet a soul. Everything looked and sounded unreal. Nothing was what it is. That’s what I wanted—to 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.

There's no reality except the one contained within us. That's why so many people live an unreal life. They take images outside them for reality and never allow the world within them to assert itself.

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.

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.

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.

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.

I couldn't tell fact from fiction, Or if the dream was true My only sure prediction In this world was you. I'd touch your features inchly. Beard love and dared the cost, The sented spiel reeled me unreal And I found my senses lost.

'Mysticism' here means, in the literal sense, a change of sensory impressions and organ sensations into something unreal and beyond this world.

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.

The world just feels different for those of us who come alive after dark. It's more fragile and unreal, a replica of the one everyone else inhabits.

My ideas were confused. In a peculiar way, the unreality of the outer world appeared to be an extension of my own disturbed state of mind.

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.

Emma dropped the paper. Her first impression was of a weak feeling in her stomach and in her knees; then of blind guilt, of unreality, of coldness, of fear; then she wished that it were already the next day. Immediately afterwards she realized that that wish was futile because the death of her father was the only thing that had happened in the world, and it would go on happening endlessly.

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 unaware—were 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?

Fictional stories were written so that they seemed real, kind of like a well-executed lie. Fiction creates an unreal world that's better than the real one.

Lately, a study has suggested that depressed people have a more accurate view of reality, though this accuracy is not worth a bean because it is depressing, and depressed people live shorter lives. Optimists and believers are happier and healthier in their unreal worlds.

Like love, mourning affects the world—and the worldly—with unreality, with importunity. I resist the world, I suffer from what it demands of me, from its demands. The world increases my sadness, my dryness, my confusion, my irritation, etc. The world depresses me.

tedium is the worst pain. the mind lays out the world in blocks, and the hushed blood waits for revenge. all order, i've come to understand, is theoretical, unreal - a harmless sensible, smiling mask men slide between the two great, dark realities, the self and the world - two snake pits.

All order, I've come to understand, is theoretical, unreal — a harmless, sensible, smiling mask men slide between the two great, dark realities, the self and the world — two snake pits.

The light of memory, or rather the light that memory lends to things, is the palest light of all. I am not quite sure whether I am dreaming or remembering, whether I have lived my life or dreamed it. Just as dreams do, memory makes me profoundly aware of the unreality, the evanescence of the world, a fleeting image in the moving water.

Dissociation, a form of hypnotic trance, helps children survive the abuse…The abuse takes on a dream-like, surreal quality and deadened feelings and altered perceptions add to the strangeness. The whole scene does not fit into the 'real world.' It is simple to forget, easy to believe nothing happened.

Our lives are just spectacles. We are like dolls, in a sense, to be observed and played with - often with cruel and deceitful intentions - in an unreal world.

Awww, 'tis the refuge we take when the unreality of the world weighs too heavy on our tiny heads.

Upset by two nostalgias facing each other like two mirrors, he lost his marvelous sense of unreality and he ended up recommending to all of them that they leave Macondo, that they forget everything he had taught them about the world and the human heart, that they shit on Horace, and that wherever they might be they always remember that the past was a lie, that memory has no return, that every spring gone by could never be recovered, and that the wildest and most tenacious love was an ephemeral truth in the end.

Sometimes I just wanted to…I don’t know, escape life. To delve headfirst into a world that dealt with real-life issues to open my eyes, or a world that was something else, something completely unreal. One with warring faes or roaming vampire clans. I wanted to experience new things and always, always, read the last page feeling satisfied. Because sometimes happily-ever-after existed only in the books I read.

Because of fear, I had forfeited strength, life, and beauty. I had lost a sense of my true self, and with that loss so much of what God wanted for me was yet unrealized.

She was unreal. She was perfection. Girls like her didn’t belong here. Fortunately, she did belong to me. She always wore a winsome smile, but it wasn’t only that. It was her eyes; they were made up of stars. Her hands. Her fingers. It was the world’s most fancy duty to keep her close.

Everything looked and sounded unreal. Nothing was what it is. That’s what I wanted—to be alone with myself in another world where truth is untrue and life can hide from itself. —From Long Day’s Journey into Night, by Eugene O’Neill

The body is imaginary, and we bow to the tyranny of a phantom. Love is a privilege perception, the most total and lucid not only of the unreality of the world but of our own unreality: not only do we traverse a realm of shadows; but ourselves are shadows.

It would be well to realize that the talk of ‘humane methods of warfare’, of the ‘rules of civilized warfare’, 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 progress… 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.

To love at a distance and without hope; never to possess; to dream chastely of pale charms and impossible kisses extinguished on the waxen brow of death: ah, that is something like it. A delicious straying away from the world, and never the return. As only the unreal is not ignoble and empty, existence must be admitted to be abominable. Yes, imagination is the only good thing which heaven vouchsafes to the skeptic and pessimist, alarmed by the eternal abjectness of life.

Your Shadow is all of the things, 'positive' and 'negative', that you’ve denied about yourself and hidden beneath the surface of the mask you forgot that you’re wearing.

Time spent in India has a extraordinary effect on one. It acts as a barrier that makes the rest of the world seem unreal.

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 one’s sadness and delight in one’s 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 don’t 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.

I now understand that deja vu is the awareness of the simultaneous occurrence of a nearly identical event in an alternate universe as perceived by another version of yourself. That haunting sense of unreality and the flimsiness of time, of identity itself, is a window through which we glimpse another world.

If you don’t accept yourself, you can’t transcend yourself and the world: first, you need to increase your awareness, then you need to accept what you learn, then you need to take action.

The skies were filled with an unreal fire; blue, burnt with amber, red, orange and yellow. This fire was no natural thing. It clawed across the sky, and below it all life shivered and retreated. The land lay scorched, the mountains and glens trembling. The man stood pale in the false light, a statue, watching. Then he moved, shaking off the stillness, and looked towards the power that shook the world. His clenched fist opened and clean white light leapt to the sky. A huge concussion rocked the mountains. All light was quenched. The sky turned black, then clear and blue. A distant rainbow promised that all was well and God still cared for this lost land. Alastair Munro fell back, the soft heather a safety net, all power gone, all anger lost. Angus Ferguson was beside him as ever, a reassuring voice, a reminder of why Munro was there, why he must go on, why this was his destiny

It was the essence of life to disbelieve in death for one's self, to act as if life would continue forever. And life had to act also as if little issues were big ones. To take a realistic attitude toward life and death meant that one lapsed into unreality. Into insanity. It was ironic that the only way to keep one's sanity was to ignore that one was in an insane world or to act as if the world were sane.

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.

Humans only live for a hundred years, it is as unreal as a dream that ends in an instant. What is the point of a person living in this world? No more than just being on a journey, and witnessing interesting things. Although I do not want to die, I do not fear death. I am already on my right path, I will strive to have no regrets even if I die. The only thing lacking in this world is a medicine for regret.” - Fang Yuan

She lived in the dream world of unreality, or else she would not admit reality; he did not know. In any case, he loved her as she was. It might never be used, but it would give her pleasure to have it.

To-day, I will seek not the shadowy region; Its unsustaining vastness waxes drear; And visions rising, legion after legion, Bring the unreal world too strangely near.

And yet, and yet… Denying temporal succession, denying the self, denying the astronomical universe, are apparent desperations and secret consolations. Our destiny … is not frightful by being unreal; it is frightful because it is irreversible and iron-clad. Time is the substance I am made of. Time is a river which sweeps me along, but I am the river; it is a tiger which destroys me, but I am the tiger; it is a fire which consumes me, but I am the fire. The world, unfortunately, is real; I, unfortunately, am Borges.

It almost felt like we were driving in our own world--like we were inside a snow globe--and there was music and sunlight and smiles and laughter floating in the air. And it was all self-contained in a beautiful bubble filled with glittering water that made things seem a little unreal, a little dream-like and hazy.

This does not mean, however, that the phenomenal world is an illusion or unreal. The illusion is the sense of separateness.

There was something so unreal about her, sitting there. I couldn’t even see her face; couldn’t discern the outline of her figure. Even then she fascinated me. That she could seem so calm, so still. She would sit in one place for hours at a time, unmoving, and I always wondered where she was in her mind, what she might be thinking, how she could possibly exist in that solitary world. More than anything else, I wanted to hear her speak. I was desperate to hear her voice.

Anxiety is always a gap between the way things are and the way we think they ought to be. Anxiety is something that stretches between the real and unreal. Our human desire is to avoid what's real and instead to be with our ideas about the world: "I'm terrible." "You're terrible." "You're wonderful." The idea is separated from reality and anxiety is the gap between the idea and the reality that things are just as they are. When we cease to believe in the object that we've created -- which is off to one side of reality, so to speak -- things snap back to the center. That's what being centered means. The anxiety then fades out.

Nowadays, in modern technological culture, sometimes we hear people complain that nothing feels real anymore. Everything in the modern world is plastic or digital or virtual. But I say, that was always life! That is life itself! Plato discussed that things in this life are only shadows of forms. So this is what I mean by the changing and unreal feeling of life.

Art and art only, can make archaeology beautiful; and the theatric art can use it most directly and most vividly, for it can combine in one exquisite presentation the illusion of actual life with the wonder of the unreal world.

There have been many plagues in the world as there have been wars, yet plagues and wars always find people equally unprepared. [...] When a war breaks out people say: 'It won't last, it's too stupid.' And war is certainly too stupid, but that doesn't prevent it from lasting. Stupidity always carries doggedly on, as people wold notice if they were not always thinking about themselves. In this respect, the citizens of Oran were like the rest of the world, they thought about themselves, in other words, they were humanists: they did not believe in pestilence. A pestilence does not have human dimensions, so people tell themselves that it is unreal, that it is a bad dream which will end. But it does not always end and, from one bad dream to the next, it is people who end, humanists first of all because they have not prepared themselves.

My being subsists only from a supreme point of view which is precisely incompatible with my point of view. The perspective in which I fade away for my eyes restores me as a complete image for the unreal eye to which I deny all images. A complete image with reference to a world devoid of image which imagines me in the absence of any imaginable figure. The being of a nonbeing of which I am the infinitely small negation which it instigates as its profound harmony. In the night shall I become the universe?

We human beings instinctively regard the seen world as the “real” world and the unseen world as the “unreal” world, but the Bible calls for almost the opposite.

We perceive, as from a great distance, a thousand years filled with dim shapes of men moving blindly, performing strangely, in an unreal shadowy world.

I accepted all this counsel politely, with a glassy smile and a glaring sense of unreality. Many adults seemed to interpret this numbness as a positive sign; I remember particularly Mr. Beeman (an overly clipped Brit in a dumb tweed motoring cap, whom despite his solicitude I had come to hate, irrationally, as an agent of my mother’s death) complimenting me on my maturity and informing me that I seemed to be “coping awfully well.” And maybe I was coping awfully well, I don’t know. Certainly I wasn’t howling aloud or punching my fist through windows or doing any of the things I imagined people might do who felt as I did. But sometimes, unexpectedly, grief pounded over me in waves that left me gasping; and when the waves washed back, I found myself looking out over a brackish wreck which was illumined in a light so lucid, so heartsick and empty, that I could hardly remember that the world had ever been anything but dead.

I close my eyes and dream, because wishes are out of my reach. They require hope. Dreams do not; they are fueled by the unreal, the forbidden, the things that will not ever exist in this world.

Meditate but one hour upon the self’s nonexistence and you will feel yourself to be another man,” said a priest of the Japanese Kusha sect to a Western visitor. Without having frequented the Buddhist monasteries, how many times have I not lingered over the world’s unreality, and hence my own? I have not become another man for that, no, but there certainly has remained with me the feeling that my identity is entirely illusory, and that by losing it I have lost nothing, except something, except everything.

Life is too short for unreality and you don’t owe anybody anything - especially your time, energy, and attention.

I want art that makes the world seem more unreal. I want fiction that can crumble the world and build it back into something new.

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.

[Ishmael] listened to the world turned silent by the snow; there was absolutely nothing to hear. The silence of the world roared steadily in his ears while he came to recognize that he did not belong here, he had no place in the tree any longer. Some much younger people should find this tree, hold to it tightly as their deepest secret as he and Hatsue had. For them it might stave off what he could not help but see with clarity: that the world was silent and cold and bare and that in this lay its terrible beauty.

The pills were meant to be a seawall against her visions, against the unreal world that always seemed to be blooming underneath the real one, like the beat of blood behind a bruise, waiting for its moment to break through.

It is necessary to create constraints, in order to invent freely. In poetry the constraint can be imposed by meter, foot, rhyme, by what has been called the "verse according to the ear."... In fiction, the surrounding world provides the constraint. This has nothing to do with realism... A completely unreal world can be constructed, in which asses fly and princesses are restored to life by a kiss; but that world, purely possible and unrealistic, must exist according to structures defined at the outset (we have to know whether it is a world where a princess can be restored to life only by the kiss of a prince, or also by that of a witch, and whether the princess's kiss transforms only frogs into princes or also, for example, armadillos).

They pointed at each other, with starlight burning in their limbs like daggers and icicles and fireflies, and then fell to judging their limbs again, each finding himself intact, hot, excited, stunned, awed, and the other, ah yes, that other over there, unreal, a ghostly prism flashing the accumulated light of distant worlds…. … Now Tomas laughed. “You’re blind!” “I see very well. You are the one who does not see.

Intimacy with one person could do this-empty the world of friendships, give a distaste for women's kisses and their bright chatter, make the ordinary world a little unreal and very uninteresting.

For a while 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.

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.

But we can be nearly sure that those whose love for God has caused their pure loves here below to disappear are false friends of God.   Our neighbour, our friends, religious ceremonies and the beauty of the world do not fall in rank to unreal things after direct contact between God and the soul. On the contrary, only then do these things become real. Previously, they were half-dreams. Previously, they had no reality.

Scientific education is based in the main on statistical truths and abstract knowledge and therefore imparts an unrealistic, rational picture of the world, in which the individual, as a merely marginal phenomenon, plays no role. The individual, however, as an irrational datum, is the true and authentic carrier of reality, the concrete man as opposed to the unreal ideal or “normal” man to whom the scientific statements refer.

It is perplexing to wonder why we ever leave the here and now. Here and now are the only place and time when one ever enjoys himself or accomplishes anything. Most of our suffering takes place when we allow our minds to imagine the future or mull over the past. Nonetheless, few people are ever satisfied with what is before them at the moment. Our desire that things be different from what they are pulls our minds into an unreal world, and consequently we are less able to appreciate what the present has to offer. Our minds leave the reality of the present only when we prefer the unreality of the past or future.

The Ego is the ‘thing’ that you’ve created to keep hiding from your Shadow, convinced that it’s all the ‘light’ or ‘good’ things about you – when in reality, the ego is neither ‘good’ nor ‘bad’ because it’s totally unreal.

I wanted to try to build a bridge of words between me and that world outside, that world which was so distant and elusive that it seemed unreal.

They became part of that unreal but penetrating and exciting universe which is the world seen through the eyes of love

None of that seemed real, but the world would certainly be cooler with something so unreal in it.

To interviewers who lamented that life in the time of plague had become so unreal, I'd reply that no, actually *this* was real. What's unreal is the fantasy we humans have been living: growing on and on, in denial of the obvious.

Beyond the wall of the unreal city … there is another world waiting for you. It is the old true world of the deserts, the mountains, the forests, the islands, the shores, the open plains. Go there. Be there. Walk gently and quietly deep within it. And then — May your trails be dim, lonesome, stony, narrow, winding and only slightly uphill. May the wind bring rain for the slickrock potholes fourteen miles on the other side of yonder blue ridge. May God's dog serenade your campfire, may the rattlesnake and the screech owl amuse your reverie, may the Great Sun dazzle your eyes by day and the Great Bear watch over you by night.

My aim throughout is to let facts speak for themselves. If they seem strange, unreal, even impossible, I can only say that the things of the invisible world must always appear so to those whose thoughts and desires are centred on this life only.

Emma dropped the letter. The first thing she felt was a sinking in her stomach and a trembling in her knees; then, a sense of blind guilt, of unreality, of cold, of fear; then, a desire for this day to be past. Then immediately she realized that such a wish was pointless, for her father's death was the only thing that had happened in the world, and it would go on happening, endlessly, forever after.

The more we love, the more the object of our love seems to us to be a victim. In the case of some men, compassion for a woman exceeds all measure and transports her to an unreal, entirely imaginary world.

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.

I will put warm woolen socks on the feet of the people in the other world; but I dream and cannot wake, and I am cast over the cliff and hang there by two fingers that are danced and trampled on by the giant unreality.

As I have pointed out before, characters are not born like people, of woman; they are born of a situation, a sentence, a metaphor containing in a nutshell a basic human possibility that the author thinks no one else has discovered or said something essential about. But isn't it true that an author can write only about himself? Staring impotently across a courtyard, at a loss for what to do; hearing the pertinacious rumbling of one's own stomach during a moment of love; betraying, yet lacking the will to abandon the glamorous path of betrayal; raising one's fist with the crowds in the Grand March; displaying one's wit before hidden microphones—I have known all these situations, I have experienced them myself, yet none of them has given rise to the person my curriculum vitae and I represent. The characters in my novels are my own unrealized possibilities. That is why I am equally fond of them all and equally horrified by them. Each one has crossed a border that I myself have circumvented. It is that crossed border (the border beyond which my own "I" ends) which attracts me most. For beyond that border begins the secret the novel asks about. The novel is not the author's confession; it is an investigation of human life in the trap the world has become.

Both the biological and psychological approaches are suspect since both posit an unreal world, completely at odds with human experience, in which people do not get depressed for good reasons having to do with their experience in life and their uneasiness about the facts of existence. Rather, people only get depressed because something in them is flawed or broken. Depression of any magnitude, these approaches claim, is always an illness and never a reaction to being dropped, willy-nilly, into a world not of their making, which they are forced to make mean something.

I had gone to no place where the roads were frozen and hard as iron, where it was clear cold and dry and the snow was dry and powdery and hare-tracks in the snow and the peasants took off their hats and called you Lord and there was good hunting. I had gone to no such place but to the smoke of cafés 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. Suddenly to care very much and to sleep to wake with it sometimes morning and all that had been there gone and everything sharp and hard and clear and sometimes a dispute about the cost. Sometimes still pleasant and fond and warm and breakfast and lunch. Sometimes all niceness gone and glad to get out on the street but always another day starting and then another night. I tried to tell about the night and the difference between the night and the day and how the night was better unless the day was very clean and cold and I could not tell it; as I cannot tell it now

The world was no longer solid and dependable, it was porous and deceptive. Anything could disappear. At the same time, everything I looked at was very clear. It was like one of those surrealist paintings we’d studied in school the year before. Melted clocks in the desert, solid but unreal.

. . . at eighteen the true narrative of life is yet to be commenced. Before that time we sit listening to a tale, a marvelous fiction, delightful sometimes, and sad sometimes, almost always unreal. Before that time our world is heroic, its inhabitants half-divine or semi-demon; its scenes are dreamscenes; darker woods and stranger hills, brighter skies, more dangerous waters, sweeter flowers, more tempting fruits, wider plains, drearier deserts, sunnier fields than are found in nature, overspread our enchanted globe. What a moon we gaze on before that time! How the trembling of our hearts at her aspect bears witness to its unutterable beauty!

I push against the tree and run away, stumbling, the unreal night playing with me, gravity pulling from below, behind, above, making me fall. And I run through a world that is rotating, conscious of the earth's spin, of our planet twirling as it careens through nothingness, of the stars spiraling above, of the uncertainty of everything, even ground, even sky. Mumtaz never calls out, although a thousand and one voices scream in my mind, sing, whisper, taunt me with madness.

Self-destruction and self-sabotage are often just the start of the self-resurrection process.

When the cold front of demographics meets the warm front of unrealized dreams, the result will be a thunderstorm of purpose the likes of which the world has never seen.

I would like to go mad on one condition, namely, that I would become a happy madman, lively and always in a good mood, without any troubles and obsessions, laughing senselessly from morning to night. Although I long for luminous ecstasies, I wouldn't ask for any, because I know they are followed by great depressions. I would like instead a shower of warm light to fall from me, transfiguring the entire world, a nunecstatic burst of light preserving the calm of luminous eternity. Far from the concentrations of ecstasy, it would be all graceful lightness and smiling warmth. The entire world should float in this dream of light, in this transparent and unreal state of delight. Obstacles and matter, form and limits would cease to exist. Then let me die of light in such a landscape.

This change did not bring me into the community of the others, did not make me closer to anyone, but actually made me even lonelier. My reformation seemed to point in the direction of Demian, but even this was a distant fate. I did not know myself, for I was too deeply involved. It had begun with Beatrice, but for some time I had been living in such an unreal world with my paintings and my thoughts of Demian that I'd forgotten all about her, too. I could not have uttered a single word about my dreams and expectations, my inner change, to anyone, not even if I had wanted to. But how could I have wanted to?

The Shadow Life is real life but it can only be for those who don’t deny the truth about themselves, the world, and reality by becoming AWARE, cultivating unconditional ACCEPTANCE, and talking real ACTION.

My responsibility may be infinite, but my empathy is not, and there is more evil in the world at any given moment than I feel physically capable of processing, much less addressing with due thought and care.

Virtuality is different from the spectacle, which still left room for a critical consciousness and demystification. The abstraction of the 'spectacle' was never irrevocable, even for the Situationists. Whereas unconditional realization is irrevocable, since we are no longer either alienated or dispossessed: we are in possession of all the information. We are no longer spectators, but actors in the performance, and actors increasingly integrated into the course of that performance. Whereas we could face up to the unreality of the world as spectacle, we are defenceless before the extreme reality of this world, before this virtual perfection. We are, in fact, beyond all disalienation. This is the new form of terror, by comparison with which the horrors of alienation were very small beer.

Our world, seemingly global, is in reality a planet of thousands of the most varied and never intersecting provinces. A trip around the world is a journey from backwater to backwater, each of which considers itself, in its isolation, a shining star. For most people, the real world ends on the threshold of their house, at the edge of their village, or, at the very most, on the border of their valley. That, which is beyond is unreal, unimportant, and even useless, whereas that which we have at our fingertips, in our field of vision, expands until it seems an entire universe, overshadowing all else. Often, the native and the newcomer have difficulty finding a common language, because each looks at the same place through a different lens. The newcomer has a wide-angle lens, which gives him a distant diminished view, although with a long horizon line, while the local always employs a telescopic lens that magnifies the slightest detail.

Sometimes I think I am going mad. I live for days in the mystery and tears of things so that the commonest object, the most familiar face- even my own- become ghostly, unreal, enigmatic. I get into an attitude of almost total scepticism, nescience, solipsism, in a world of dumb, sphinx-like things that cannot explain themselves. The discovery of how I am situated- a sentient being on a globe in space overshadows me. I wish I were just nothing.

It is lonely behind these boundaries. Some people-particularly those whom psychiatrists call schizoid-because of unpleasant, traumatizing experiences in childhood, perceive the world outside of themselves as unredeemably dangerous, hostile, confusing and unnurturing. Such people feel their boundaries to be protecting and comforting and find a sense of safety in their loneliness. But most of us feel our loneliness to be painful and yearn to escape from behind the walls of our individual identities to a condition in which we can be more unified with the world outside of ourselves. The experience of falling in love allows us this escapetemporarily. The essence of the phenomenon of falling in love is a sudden collapse of a section of an individual's ego boundaries, permitting one to merge his or her identity with that of another person. The sudden release of oneself from oneself, the explosive pouring out of oneself into the beloved, and the dramatic surcease of loneliness accompanying this collapse of ego boundaries is experienced by most of us as ecstatic. We and our beloved are one! Loneliness is no more! In some respects (but certainly not in all) the act of falling in love is an act of regression. The experience of merging with the loved one has in it echoes from the time when we were merged with our mothers in infancy. Along with the merging we also reexperience the sense of omnipotence which we had to give up in our journey out of childhood. All things seem possible! United with our beloved we feel we can conquer all obstacles. We believe that the strength of our love will cause the forces of opposition to bow down in submission and melt away into the darkness. All problems will be overcome. The future will be all light. The unreality of these feelings when we have fallen in love is essentially the same as the unreality of the two-year-old who feels itself to be king of the family and the world with power unlimited. Just as reality intrudes upon the two-year-old's fantasy of omnipotence so does reality intrude upon the fantastic unity of the couple who have fallen in love. Sooner or later, in response to the problems of daily living, individual will reasserts itself. He wants to have sex; she doesn't. She wants to go to the movies; he doesn't. He wants to put money in the bank; she wants a dishwasher. She wants to talk about her job; he wants to talk about his. She doesn't like his friends; he doesn't like hers. So both of them, in the privacy of their hearts, begin to come to the sickening realization that they are not one with the beloved, that the beloved has and will continue to have his or her own desires, tastes, prejudices and timing different from the other's. One by one, gradually or suddenly, the ego boundaries snap back into place; gradually or suddenly, they fall out of love. Once again they are two separate individuals. At this point they begin either to dissolve the ties of their relationship or to initiate the work of real loving.

One of the most destructive forces in the world is love. For the following reason: The world is a conglomeration of objects, no, of events and the approaching of events towards objects, therefore of becoming stases static stagnant, of all that is unreal. You get in the world, you get your daily life your routine doesn't matter if you're rich poor legal illegal, you begin to believe what doesn't change is real, and love comes along and shows all these unchangeable for ever fixtures to be flimsy paper bits. Love can tear anything to shreds.

Since I emerged that day from the labyrinth, Dazed with the tall and echoing passages, The swift recoils, so many I almost feared I’d meet myself returning at some smooth corner, Myself or my ghost, for all there was unreal After the straw ceased rustling and the bull Lay dead upon the straw and I remained… I could not live if this were not illusion. It is a world, perhaps; but there’s another. For once in a dream or trance I saw the gods Each sitting on the top of his mountain-isle, While down below the little ships sailed by… That was the real world; I have touched it once, And now shall know it always. But the lie, The maze, the wild-wood waste of falsehood, roads That run and run and never reach an end, Embowered in error – I’d be prisoned there But that my soul has birdwings to fly free. Oh these deceits are strong almost as life. Last night I dreamt I was in the labyrinth, And woke far on. I did not know the place.

Now do you suppose unselfishness is unreal and nowhere extant? On the contrary, nothing is more ordinary! One may even call it an article of fashion in the civilized world, which is considered so indispensable that, if it cost too much in solid material, people adorn themselves with its counterfeit tinsel and feign it.

The danger of abusing the discovery of the truth value of imagination for retrogressive tendencies is exemplified by the work of Carl Jung. More empathically than Freud, he has insisted on the cognitive force of imagination. According to Jung, phantasy is ‘undistinguishably’ united with all other mental functions, it appears ‘now as primeval, now as the ultimate and most audacious synthesis of all capabilities.’ Phantasy is above all the ‘creative activity out of which flow the answers to all answerable questions’; it is ‘the mother of all possibilities, in which all mental opposites as well as the conflict between internal and external world are united.’ Phantasy has always built the bridge between the irreconcilable demands of object and subject, extroversion and introversion. The simultaneously retrospective and expectant character of imagination is thus clearly stated: it looks not only back to an aboriginal golden past, but also forward to still unrealized but realizable possibilities.

Emigration does not only involve leaving behind, crossing water, living amongst strangers, but, also, undoing the very meaning of the world and—at its most extreme—abandoning oneself to the unreal which is the absurd. […] to emigrate is always to dismantle the center of the world, and so to move into a lost, disoriented one of fragments.

One is, after all, very adaptable; one has to be. One finds diversions; these, indeed, confront one at every turn, the world being so full of natural beauties and enchanting artifacts, of adventures and jokes and excitements and romance and remedies for grief. It is simply that a dimension has been taken out of my life, leaving it flat, not rich and rounded and alive any more, but hollow and thin and unreal, like a ghost that roves whispering about its old haunts, looking always for something that is not there.

 "The things we see," said Pistorius gently, "are the things which are already in us. There is no reality beyond what we have inside us. That is why most people live such unreal lives; they take pictures outside themselves for the real ones and fail to express their own world. One can of course live contentedly enough in that situation. But once you know about the other you no longer have the choice of following the majority way. The way of the majority, Sinclair, is easy, ours is hard....But now we must go." 

Bad information is a disease that attacks the brain. It messes with your head, making you do things that you shouldn't, causing you to make wrong decisions. Just as a potent virus co-opts your cells' machinery, bad information can co-opt your behavior. It can alter the way you interact with the world and, as a result, it can change the world.

What distinguishes normal people is that we share a metaphorical dagger; the concerns of our self - reflection. With this dagger, we cut ourselves and bleed; and the job of our chains of self - reflection is to give us the feeling that we are bleeding together, that we are sharing something wonderful; our humanity. But if we were to examine it, we would discover that we are bleeding alone; that we are not sharing anything; that all we are doing is toying with our manageable, unreal, man-made reflection. Sorcerers are no longer in the world of daily affairs, because they are no longer prey to their self - reflection.

Plato once said that pain restores order to the soul. Rumi said that it lops off the branches of indifference. “The throbbing vein / will take you further / than any thinking.”14 Whatever else it does, pain offers an experience of being human that is as elemental as birth, orgasm, love, and death. Because it is so real, pain is an available antidote to unreality—not the medicine you would have chosen, perhaps, but an effective one all the same. The next time you are in real pain, see how you feel about television shows, new appliances, a clean house, or your resumé. Chances are that none of these will do anything for you. All that will do anything for you is some cool water, held out by someone who has stopped everything else in order to look after you. An extra blanket might also help, a dry pillow, the simple knowledge that there is someone in the house who might hear you if you cried.

...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.

Now having Brynhildic fantasies about her was nothing--I have all sorts of extraordinary fantasies which I don't take seriously--but bringing my fantasies into the real world frightened me very much. It's not that they were bad in themselves, but they were Unreal and therefore culpable; to try to make Real what was Unreal was to mistake the very nature of things; it was a sin not against conscience (which remained genuinely indifferent during the whole affair) but against Reality, and of the two the latter is far more blasphemous. It's the crime of creating one's own Reality, of "preferring oneself" as a good friend of mine says.

What is it we heartily wish of each other? Is it to be pleased and flattered? No, but to be convicted and exposed, to be shamed out of our nonsense of all kinds, and made men of, instead of ghosts and phantoms. We are weary of gliding ghostlike through the world, which is itself so slight and unreal. We crave a sense of reality, though it comes in strokes of pain.

At what point does one say of a man that he has become unreal? He hugged his overcoat closer and tried to assemble in his mind Heidegger’s argument about the use of moods. We would think ourselves continuous with the world if we did not have moods. It is state-of-mind that discloses to us (Heidegger claims) that we are beings who have been thrown into something else.

Freedom posits free-will; that is self-evident. But Will can only operate when there is first a motive. No motive, no willing. But motive is a matter of belief; you would not want to do anything unless you believed it possible and meaningful. And belief must be belief in the existence of something; that is to say, it concerns what is real. So ultimately, freedom depends upon the real. The Outsider’s sense of unreality cuts off his freedom at the root. It is as impossible to exercise freedom in an unreal world as it is to jump while you are falling.

And the voice spoke even more deliberately: '...but remember what is under the ocean of clouds: eternity.' And suddenly that tranquil world, the world of such simple harmony that you discover as you rise above the clouds, took on an unfamiliar quality in my eyes. All that gentleness became a trap. In my mind's eye I saw that vast white trap laid out, right under my feet. Beneath it reigned neither the restlessness of men nor the living tumult and motion of cities, as one might have thought, but a silence that was even more absolute, a more final peace. That viscous whiteness was turning before my eyes into the boundary between the real and the unreal, between the known and the unknowable. And I was already beginning to sense that a spectacle has no meaning except when seen through a culture, a civilization, a professional craft.

There, Clover found the "gardens and great trees and old cottages...so beautiful" that seeing them exhausted her. It was as if, she joked with her husband, "this English world is a huge stage-play got up only to amuse Americans. It is obviously unreal, eccentric, and taken out of novels.

For my present purpose I require a word which shall embrace both the Sub-Creative Art in itself, and a quality of strangeness and wonder in the Expression, derived from the Image: a quality essential to fairy-story. I propose, therefore, to arrogate to myself the powers of Humpty-Dumpty, and to use Fantasy for this purpose: in a sense, that is, which combines with its older and higher use as an equivalent of Imagination the derived notions of 'unreality' (that is, of unlikeness to the Primary World), of freedom from the dominion of 'observed fact,' in short of the fantastic. I am thus not only aware but glad of the etymological and semantic connexions of fantasy with fantastic: with images of things that are not only 'not actually present,' but which are indeed not to be found in our primary world at all, or are generally believed not to be found there. But while admitting that, I do not assent to the depreciative tone. That the images are of things not in the primary world (if that indeed is possible) is, I think, not a lower but a higher form of Art, indeed the most nearly pure form, and so (when achieved) the most Potent. Fantasy, of course, starts out with an advantage: arresting strangeness. But that advantage has been turned against it, and has contributed to its disrepute. Many people dislike being 'arrested.' They dislike any meddling with the Primary World, or such small glimpses of it as are familiar to them. They, therefore, stupidly and even maliciously confound Fantasy with Dreaming, in which there is no Art; and with mental disorders, in which there is not even control; with delusion and hallucination. But the error or malice, engendered by disquiet and consequent dislike, is not the only cause of this confusion. Fantasy has also an essential drawback: it is difficult to achieve. . . . Anyone inheriting the fantastic device of human language can say the green sun. Many can then imagine or picture it. But that is not enough -- though it may already be a more potent thing than many a 'thumbnail sketch' or 'transcript of life' that receives literary praise. To make a Secondary World inside which the green sun will be credible, commanding Secondary Belief, will probably require labour and thought, and will certainly demand a special skill, a kind of elvish craft. Few attempt such difficult tasks. But when they are attempted and in any degree accomplished then we have a rare achievement of Art: indeed narrative art, story-making in its primary and most potent mode.

I felt a sudden momentary sense of unreality, as if the play yard, with its black asphalt floor and its white base lines, were my entire world now, as if all the previous years of my life had led me somehow to this one ball game, and all the future years of my life would depend upon its outcome. I stood there for a moment, holding the glasses in my hand and feeling frightened. Then I took a deep breath, and the feeling passed. It's only a ball game, I told myself. What's a ball game?

I nodded. I felt relieved to know I wasn’t crazy, but I had to admit that the unreality of the situation had now, through Menshiki, taken on a reality, creating a slight gap in the seam of the world.

I’d always been a reader and I read a lot, usually sticking to books with some sort of romantic theme and a classic happily-ever-after. Lori used to make fun of me nonstop for it, claiming I had cheesy taste in books, but whatever. At least I didn’t have pretentious taste in books like she did, and sometimes I just wanted to...I don’t know, escape life. To delve headfirst into a world that dealt with real-life issues to open my eyes, or a world that was something else, something completely unreal. One with warring faes or roaming vampire clans. I wanted to experience new things and always, always, reach the last page feeling satisfied. Because sometimes happily-ever-after existed only in the books I read.

This change did not bring me into the community of the others, did not make me closer to anyone, but actually made me even lonelier. My reformation seemed to point in the direction of Demian, but even this was a distant fate. I did not know myself, for I was too deeply involved. It had begun with Beatrice, but for some time I had been living in such an unreal world with my paintings and my thoughts of Demian that I'd forgotten all about her, too. I could not have uttered a single word about my dreams and expectations, my inner change, to anyone, not even if I had wanted to. But how could I have wanted to?

At first he told them that everything was just the same, that the pink snails were still in the house where he had been born, that the dry herring still had the same taste on a piece of toast, that the waterfalls in the village still took on a perfumed smell at dusk. They were the notebook pages again, woven with the purple scribbling, in which he dedicated a special paragraph to each one. Nevertheless, and although he himself did not seem to notice it, those letters of recuperation and stimulation were slowly changing into pastoral letters of disenchantment. One winter night while the soup was boiling in the fireplace, he missed the heat of the back of his store, the buzzing of the sun on the dusty almond trees, the whistle of the train during the lethargy of siesta time, just as in Macondo he had missed the winter soup in the fireplace, the cries of the coffee vendor, and the fleeting larks of springtime. Upset by two nostalgias facing each other like two mirrors, he lost his marvelous sense of unreality and he ended up recommending to all of them that they leave Macondo, that they forget everything he had taught then about the world and the human heart, that they shit on Horace, and that wherever they might be they always remember that the past was a lie, that memory has no return, that every spring gone by could never be recovered, and that the wildest and most tenacious love was an ephemeral truth in the end.

Writing is a compensatory activity, and literature abounds in cases like his. Borges's pages teem with knives, crimes, and scenes of torture, but the cruelty is kept at a distance by his fine sense of irony and by the cool rationalism of his prose, which never falls into sensationalism or the purely emotional. This lends a statuesque quality to the physical horror, giving it the nature of a work of art set in an unreal world.

The trails of light which they [moths] seemed to leave behind them in all kinds of curlicues and streamers and spirals..., did not really exist, explained Alphonso, but were merely phantom tracks created by the sluggish reaction of the human eye ,appearing to see a certain afterglow in the place from which the insect itself, shining for only the fraction of a second in the lamplight, had already gone. It was such unreal phenomena, said Alphonso, the sudden incursion of unreality into the real world, certain effects of light in the landscape spread out before us, or in the eye of a beloved person, that kindled our deepest feelings, or at least what we took for them.

The descent beckons as the ascent beckoned Memory is a kind of accomplishment a sort of renewal even an initiation, since the spaces it opens are new places inhabited by hordes heretofore unrealized of new kinds— since their movements are toward new objectives (even though formerly they were abandoned) No defeat is made up entirely of defeat—since the world it opens is always a place formerly unsuspected. A world lost a world unsuspected beckons to new places and no whiteness (lost) is so white as the memory of whiteness With evening, love wakens though its shadows which are alive by reason of the sun shining— grow sleepy now and drop away from desire Love without shadows stirs now beginning to awaken as night advances The descent made up of despairs and without accomplishment realizes a new awakening: which is a reversal of despair For what we cannot accomplish, what is denied to love what we have lost in the anticipation— a descent follows endless and indestructible

...everything in a dream is more deep and strong and real than is ever its pale imitation in the unreal life which is ours when we go awake and clothed with our artificial selves in this vague and dull-tinted artificial world.

Here, then, is the message of Easter, or at least the beginning of that message. The resurrection of Jesus doesn’t mean, “It’s all right. We’re going to heaven now.” No, the life of heaven has been born on this earth. It doesn’t mean, “So there is a life after death.” Well, there is, but Easter says much, much more than that. It speaks of a life that is neither ghostly nor unreal, but solid and definite and practical. The Easter stories come at the end of the four gospels, but they are not about an “end.” They are about a beginning. The beginning of God’s new world. The beginning of the kingdom. God is now in charge, on earth as in heaven. And God’s “being-in-charge” is focused on Jesus himself being king and Lord. The title on the cross was true after all. The resurrection proves it.

He makes me believe that there are good prople in this world. When I met Michael Holden, I knew, deep down, that he was the best person you could possibly hope to be - so perfect that he was unreal. And it made me sort of hate him. However, rather than slowly learning more and more good things about him, I have come across flaw after flaw after flaw. And you know what? That's what makes me like him now. That's why he is a real perfect person. Because he is a real person.

A beam of pink light blinded him; he felt dreadful pain in his head, and clapped his hands to his eyes. I am blind! he realized. With the pain and the pink light came understanding, an acute knowledge; he knew that Zina was not a human woman, and he knew, further, that the boy Manny was not a human boy. This was not a real world he was in; he understood that because the beam of pink light had told him that. This world is a simulation, and something living and intelligent and sympathetic wanted him to know. Something cares about me and it has penetrated this world to warn me, he realized, and it is camouflaged as this world so that the master of this world, the lord of this unreal realm, will not know; not know it is here and not know it has told me. This is a terrible secret to know, he thought. I could be killed for knowing this.

We just think that we're being born, when we're born; (headfirst crying out of the smile of the womb, if we'd only known that it was all the same before getting involved in Samsara---saving motion and nervousness, not forsaking peace---I remember being forced out---to the discriminatory prickles and thorns of the world)--- We're still the same old substance, High Hearable Essence Light---(whatever it really is, & Empty)--- Unbornness is the above--- We just think that we're dying, when we die!---headfirst falling in the airplane, falling once again, from stage-emptiness to stage-emptiness---unborn and undying and undead---Birth and death not a dualism, no difference---same Dharmakaya Universal Essence--- No death, no birth, no error, no "prose", but uncreated single substance essence flow of transitory unreal words riding an unreal ride across the memory of the unreal word, I can't say that the world is Not that it is not - Because it is just from Mind

The High Cost of Servanthood Jesus warned, however, that this life of servanthood is not lived without cost. He said, "The servant is not greater than his Lord" (John 13:16) and, if the persecuted and hated Him, we can expect no better treatment. In 2 Timothy 3:12 Paul wrote, " All that will live godly in Christ Jesus shall suffer persectution," so this is also the cost we as servants must be willing to pay. This is so difficult for us to accept in our world of man-pleasing, "I'm OK, you're OK" Christianity. No one wants to be disliked, hated or misunderstood---especially by family, friends and loved ones. But this of often exactly the price to be paid by anyone seriously wanting to follow Jesus into a life of servanthood.

I am too fond of reading books to care to write them, Mr. Erskine. I should like to write a novel certainly, a novel that would be as lovely as a Persian carpet and as unreal. But there is no literary public in England for anything except newspapers, primers, and encyclopaedias. Of all people in the world the English have the least sense of the beauty of literature.

The spectacle cannot be understood as an abuse of the world of vision, as a product of the techniques of mass dissemination of images. It is, rather, a Weltanschauung which has become actual, materially translated. It is a world vision which has become objectified. 6. The spectacle grasped in its totality is both the result and the project of the existing mode of production. It is not a supplement to the real world, an additional decoration. It is the heart of the unrealism of the real society.

The characters in my novels are my own unrealized possibilities. That is why I am equally fond of them all and equally horrified by them. Each one has crossed a border that I myself have cirumvented. It is that crossed border (the border beyond which my own "I" ends) which attracts me most. For beyond that border begins the secret the novel asks about. The novel is not the author's confession; it is an investigation of human life in the trap the world has become. But enough. Let us return to Tomas.

He was beautiful, like looking at a favorite piece of artwork. Not something one can own, but something in a faraway museum, where she would have to go halfway around the world, push through crowds on people, just to catch a glimpse of his unreal splendor.

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’.

In schizoid illness, object-relating goes wrong; the patient relates to a subjective world or fails to relate to any object outside the self. Omnipotence is asserted by means of delusions. The patient is withdrawn, out of contact, bemused, isolated, unreal, deaf, inaccessible, invulnerable, and so on. In health a great deal of life has to do with various kinds of object-relating, and with a ‘to-and-fro’ process between relating to external objects and relating to internal ones. In full fruition this is a matter of interpersonal relationships, but the residues of creative relating are not lost, and this makes every aspect of object-relating exciting.

All who are capable of absorption in an inward passion must have experienced at times the strange feeling of unreality in common objects, the loss of contact with daily things, in which the solidity of the outer world is lost, and the soul seems, in utter loneliness, to bring forth, out of its own depths, the mad dance of fantastic phantoms which have hitherto appeared as independently real and living.

Sound Protestant and Evangelical doctrine is useless — if it is not accompanied by a holy life. It is worse then useless; it does positive harm. It is despised by keen-sighted and shrewd men of the world, as an unreal and hollow thing, and brings religion into contempt.

Tara looks up at the blanket of stars. She wonders, if one exploded, would all the other stars wobble in their orbit? … That’s how death is. It turns your world up side down. It makes what was real seem unreal. It pulls you out of normal. Makes you do things you’ve never done before. Like sit outside in the middle of the night with a bag full of your dad’s ashes. When someone dies, your whole orbit changes.

Having arrived at this point, he had found no direction in which to go save that of further withdrawal into a subjectivity which refused existence to any reality or law but its own. During these postwar years he had lived in solitude and carefully planned ignorance of what was happening in the world. Nothing had importance save the exquisitely isolated cosmos of his own consciousness. Then little by little he had had the impression that the light of meaning, the meaning of everything was dying. Like a flame under a glass it had dwindled, flickered and gone out, and all existence, including his own hermetic structure from which he had observed existence, had become absurd and unreal.

Ha. Admit it: you don't have the slightest idea what you are doing, you never ever did. With all the nets in the world, real or unreal. You swam around in a flashing confused school following the tail of the fish in front. Pretty much. Nibbling at whatever passed, in whatever current you swam into. Even the love of your life felt like luck, like she might vanish in the finning crowd at any moment. Which she did.

A feeling of dissociation from his senses, an inability to think straight or interpret what he sees and hears. Things begin to look and sound different, slower, artificial, unreal. The first time it happened he thought he was losing his mind, that the whole cognitive framework by which he made sense of the world had disintegrated for good, and everything from then on would just be undifferentiated sound and colour.

But the world I—no, not I, Fabienne and I—had given them: Was it real? How much of it was real? We cannot measure a world with a ruler or a scale, and conclude that it is two inches, or two ounces, short of being real. All worlds, fabricated or not, are equally real. And so they are equally unreal. If I told my parents that in Paris I was posing for the press to photograph, they would say I was making up stories no one would believe. Paris was not real to them. Neither was my fame. The world Fabienne and I made together: it was as real as our nonsense.

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.

Abortion is one of the most shocking, yet entirely logical, extensions of this obsession with comfort, convenience and luxury. Less dramatic, but just as deadly to millions of lost souls in our world, is our unwillingness to make even small sacrifices to reach them with the Gospel.

We live in a world of unreality and dreams. To give up our imaginary position as the center, to renounce it, not only intellectually but in the imaginative part of our soul, that means to awaken to what is real and eternal, to see the true light and hear the true silence...To empty ourselves of our false divinity, to deny ourselves, to give up being the center of the world in imagination, to discern that all points in the world are equally centers and that the true center is outside the world, this is to consent to the rule of mechanical necessity in matter and of free choice at the center of each soul. Such consent is love. The face of this love, which is turned toward thinking persons, is the love of our neighbor; the face turned toward matter is love of the order of the world, or love of the beauty of the world which is the same thing.

I had gone...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. Suddenly to care very much and to sleep to wake with it sometimes morning and all that had been there gone and everything sharp and hard and clear and sometimes a dispute about the cost. Sometimes still pleasant and fond and warm and breakfast and lunch. Sometimes all niceness gone and glad to get out on the street but always another day starting and then another night. I tried to tell about the night and the difference between the night and the day and how the night was better unless the day was very clean and cold and I could not tell it; as I cannot tell it now. But if you have had it you know.

Seen things have become so real to some people that they have forgotten about the unseen. We live in a world of the natural. We rub shoulders with the physical day after day until the unseen realm seems unreal. We are almost tempted to believe it doesn't exist! But Paul said: For our light affliction, which is but for a moment, worketh for us a far more exceeding and eternal weight of glory; While we look not at the things which are seen, but at the things which are not seen: for the things which are seen are temporal; but the things which are not seen are eternal. 2 Corinthians 4:17,18

With news and data that is tailored to our prejudices, we deprive ourselves of true information. We wind up wallowing in our own false ideas, reflected back at us by the media. The news is ceasing to be a window unto the world; it is becoming a mirror that allows us to gaze only upon our own beliefs.

Dorian, Dorian," she cried, "before I knew you, acting was the one reality of my life. It was only in the theatre that I lived. I thought that it was all true. I was Rosalind one night and Portia the other. The joy of Beatrice was my joy, and the sorrows of Cordelia were mine also. I believed in everything. The common people who acted with me seemed to me to be godlike. The painted scenes were my world. I knew nothing but shadows, and I thought them real. You came—oh, my beautiful love!— and you freed my soul from prison. You taught me what reality really is. To-night, for the first time in my life, I saw through the hollowness, the sham, the silliness of the empty pageant in which I had always played. To-night, for the first time, I became conscious that the Romeo was hideous, and old, and painted, that the moonlight in the orchard was false, that the scenery was vulgar, and that the words I had to speak were unreal, were not my words, were not what I wanted to say. You had brought me something higher, something of which all art is but a reflection.

But it is a very unimaginative nature that only cares for people on their pedestals. A pedestal may be a very unreal thing. A pillory is a terrific reality. They should have known also how to interpret sorrow better. I have said that behind sorrow there is always sorrow. It were wiser still to say that behind sorrow there is always a soul. And to mock at a soul in pain is a dreadful thing. In the strangely simple economy of the world people only get what they give, and to those who have not enough imagination to penetrate the mere outward of things, and feel pity, what pity can be given save that of scorn?

But his heart was in a constant turbulent riot. The most grotesque and fantastic conceits haunted him in his bead at night. A universe of ineffable gaudiness spun itself out in his brain while the clock ticked on the washstand and the moon soaked with wet light his tangled clothes upon the floor. Each night he added to the pattern of his fancies until drowsiness closed down upon some vivid scene with an oblivious embrace. For a while 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.

One day about a month ago, I really hit bottom. You know, I just felt that in a Godless universe, I didn't want to go on living. Now I happen to own this rifle, which I loaded, believe it or not, and pressed it to my forehead. And I remember thinking, at the time, I'm gonna kill myself. Then I thought, what if I'm wrong? What if there is a God? I mean, after all, nobody really knows that. But then I thought, no, you know, maybe is not good enough. I want certainty or nothing. And I remember very clearly, the clock was ticking, and I was sitting there frozen with the gun to my head, debating whether to shoot. [The gun fires accidentally, shattering a mirror] All of a sudden, the gun went off. I had been so tense my finger had squeezed the trigger inadvertently. But I was perspiring so much the gun had slid off my forehead and missed me. And suddenly neighbors were, were pounding on the door, and, and I don't know, the whole scene was just pandemonium. And, uh, you know, I-I-I ran to the door, I-I didn't know what to say. You know, I was-I was embarrassed and confused and my-my-my mind was r-r-racing a mile a minute. And I-I just knew one thing. I-I-I had to get out of that house, I had to just get out in the fresh air and-and clear my head. And I remember very clearly, I walked the streets. I walked and I walked. I-I didn't know what was going through my mind. It all seemed so violent and un-unreal to me. And I wandered for a long time on the Upper West Side, you know, and-and it must have been hours. You know, my-my feet hurt, my head was-was pounding, and-and I had to sit down. I went into a movie house. I-I didn't know what was playing or anything. I just, I just needed a moment to gather my thoughts and, and be logical and put the world back into rational perspective. And I went upstairs to the balcony, and I sat down, and, you know, the movie was a-a-a film that I'd seen many times in my life since I was a kid, and-and I always, uh, loved it. And, you know, I'm-I'm watching these people up on the screen and I started getting hooked on the film, you know. And I started to feel, how can you even think of killing yourself. I mean isn't it so stupid? I mean, l-look at all the people up there on the screen. You know, they're real funny, and-and what if the worst is true. What if there's no God, and you only go around once and that's it. Well, you know, don't you want to be part of the experience? You know, what the hell, it's-it's not all a drag. And I'm thinkin' to myself, geez, I should stop ruining my life - searching for answers I'm never gonna get, and just enjoy it while it lasts. And, you know, after, who knows? I mean, you know, maybe there is something. Nobody really knows. I know, I know maybe is a very slim reed to hang your whole life on, but that's the best we have. And then, I started to sit back, and I actually began to enjoy myself.

There is something about the very idea of a city which is central to the understanding of a planet like Earth, and particularly the understanding of that part of the then-existing group-civilization which called itself the West. That idea, to my mind, met its materialist apotheosis in Berlin at the time of the Wall. Perhaps I go into some sort of shock when I experience something deeply; I'm not sure, even at this ripe middle-age, but I have to admit that what I recall of Berlin is not arranged in my memory in any normal, chronological sequence. My only excuse is that Berlin itself was so abnormal - and yet so bizarrely representative - it was like something unreal; an occasionally macabre Disneyworld which was so much a part of the real world (and the realpolitik world), so much a crystallization of everything these people had managed to produce, wreck, reinstate, venerate, condemn and worship in their history that it defiantly transcended everything it exemplified, and took on a single - if multifariously faceted - meaning of its own; a sum, an answer, a statement no city in its right mind would want or be able to arrive at.

Identifying ourselves with our dopamine circuits traps us in a world of speculation and possibility. The concrete world of here and now is disdained, ignored, or even feared, because we can’t control it. We can only control the future, and giving up control is not something dopaminergic creatures like to do. But none of it is real. Even a future one second away is unreal. It is only the stark facts of the present that are real, facts that must be accepted exactly as they are, facts that cannot be modified by a hair’s breadth to suit our needs. This is the world of reality. The future, where dopaminergic creatures live their lives, is a world of phantoms.

The transformation of the world is brought about by the transformation of oneself, because the self is the product and a part of the total process of human existence. To transform oneself, self-knowledge is essential; without knowing what you are, there is no basis for right thought, and without knowing yourself there cannot be transformation. One must know oneself as on is, not as on wishes to be, which is merely an ideal and there for fictitious, unreal; it is only that which is that can be transformed, not that which you wish to be. To know oneself as one is requires and extraordinary alertness of mind, because what is, is constantly undergoing transformation, change; and to follow it swiftly the mind must not be tethered to any particular dogma or belief, to any particular pattern of action. If you would follow anything, it is no good being tethered. To know yourself, there must be the awareness, the alertness of mind in which there is freedom from all beliefs, from all idealization, because beliefs and ideals only give you a color, perverting true perception. If you want to know what you are, you cannot imagine or have belief in something which you are not. If I am greedy, envious, violent, merely having an ideal of non-violence, of non-greed, is of little value. The understanding of what you are, whatever it be – ugly or beautiful, wicked or mischievous – the understanding of what you are, without distortion, is the beginning of virtue. Virtue is essential, for it gives freedom.

Moral posturing is part and parcel of temptation. It does not invite us directly to do evil—no, that would be far too blatant. It pretends to show us a better way, where we finally abandon our illusions and throw ourselves into the work of actually making the world a better place. It claims, moreover, to speak for true realism: What’s real is what is right there in front of us—power and bread. By comparison, the things of God fade into unreality, into a secondary world that no one really needs. God

In regard to propaganda the early advocates of universal literacy and a free press envisaged only two possibilities: the propaganda might be true, or it 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 regard to propaganda the early advocates of universal literacy and a free press envisaged only two possibilities: the propaganda might be true, or it 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.

However, even before the orgies of neoliberalism it was obvious that capitalism is not socially efficient. Market failures are everywhere, from environmental calamities to the necessity of the state’s funding much socially useful science to the existence of public education and public transportation (not supplied through the market) to the outrageous incidence of poverty and famine in countries that have had capitalism foisted on them.3 All this testifies to a “market failure,” or rather a failure of the capitalist, competitive, profit-driven mode of production, which, far from satisfying social needs, multiplies and aggravates them. This should not be surprising. An economic system premised on two irreconcilable antagonisms—that between worker and supplier-of-capital and that between every supplier-of-capital and every other4—and which is propelled by the structural necessity of exploiting and undermining both one’s employees and one’s competitors in order that ever-greater profits may be squeezed out of the population, is not going to lead to socially harmonious outcomes. Only in the unreal world of standard neoclassical economics, which makes such assumptions as perfect knowledge, perfect capital and labor flexibility, the absence of firms with “market power,” the absence of government, and in general the myth of homo economicus—the person susceptible of no other considerations than those of pure “economic rationality”—is societal harmony going to result.

Since you are bold and persistent I shall be equally bold: Your questions are not real. My answers are not real. The world as you perceive it is not real. War and peace, selfish and deluded projections of aggressive-natured beings, are equally unreal. Aspirations are unreal. Solutions based in egoic identity are unreal. Nature perceived as separate from one’s self, unreal. I also, as an autonomous entity, am unreal. You—equally unreal. Life itself, as is fashioned inside the human psyche is unreal. Death too, as is imagined based upon the ill-conceived notion that we are merely our bodies and personalities, is unreal. All is illusion—unreal. The Self, timeless and spaceless, immutable, beyond all qualities, alone is real. You must look within to find and confirm this for yourself. Until and unless you do, your comprehension of the world is based on very shaky ground; a ground of naive assumptions and second-hand knowledge.

As the virtual world of electronic communication becomes the world many of us inhabit all the time, in turning to imaginative literature we may not be seeking mere reassurance nor be impelled by mere nostalgia. To enter with heart and mind into the world of the imagination may be to head deliberately and directly toward, or back toward, engagement with the real world. In one of T. S. Eliot’s poems a bird sings, “Mankind cannot bear very much reality.” I’ve always thought that bird was mistaken, or was talking only about some people. I find it amazing how much of the real world most of us can endure. Not only endure, but need, desire, crave. Reality is life. Where we suffocate is in the half-life of unreality, untruth, imitation, fakery, the almost-true that is not true. To be human is to live both within and beyond the narrow band of what-happens-now, in the vast regions of the past and the possible, the known and the imagined: our real world, our true Now.

External relationships seem to have been emptied by a massive withdrawal of the real libidinal self. Effective mental activity has disappeared into a hidden inner world; the patient's conscious ego is emptied of vital feeling and action, and seems to have become unreal. You may catch glimpses of intense activity going on in the inner world through dreams and fantasies, but the patient's conscious ego merely reports these as if it were a neutral observer not personally involved in the inner drama of which it is a detached spectator. The attitude to the outer world is the same: non-involvement and observation at a distance without any feeling, like that of a press reporter describing a social gathering of which he is not a part, in which he has no personal interest, and by which he is bored. Such activity as is carried on may appear to be mechanical. When a schizoid state supervenes, the conscious ego appears to be in a state of suspended animation in between two worlds, internal and external, and having no real relationships with either of them. It has decreed an emotional and impulsive standstill, on the basis of keeping out of effective range and being unmoved.

secularism is not neutral, though it often claims to be. In relation to the biblical God, secularists may be skeptics. But in relation to their own god substitutes, they are true believers. To adapt an observation from C. S. Lewis, their skepticism is only on the surface. It is for use on other people’s beliefs. “They are not nearly skeptical enough” about their own beliefs.83 And when they enforce secular views in the realm of law, education, sexuality, and health care, they are imposing their own beliefs on everyone else across an entire society. The consequence of those secular views is inevitably dehumanizing. The reason is that secularism in all its forms is reductionistic. A worldview that does not start with God must start with something less than God—something within creation—which then becomes the category to explain all of reality. Think back to Walker Percy’s metaphor of a box. Empiricism puts everything in the box of the senses. Rationalism puts everything into the box of human reason. Anything that does not fit into the box is denied, denigrated, or declared to be unreal. The diverse and multi-faceted world God created is reduced to a single category.

Everything becomes a blur when you travel beyond a certain speed. Distant objects may still be clear in outline, but the blurred foreground makes it impossible to attend to them. This landscape is unreal and the passengers in the express train turn to their books, their thoughts or their private fantasies. The subjectivism of our age has a good deal to do with this imprisonment in a speeding vehicle, and the fact that we made this vehicle ourselves, with all the tireless care that children give to a contrivance of wood and wire, does not save us from the sense of being trapped without hope of escape. A further effect of such vertiginous speed is a kind of anaesthesia, entirely natural when the operation of the senses by which we normally make contact with our environment is suspended. With no opportunity to assimilate what is going on, our powers of assimilation are inevitably weakened and certain numbness sets in; nothing is fully savoured and nothing is properly understood. Even fear (which exists to forewarn us of danger) is suspended. This would be so even if speed of change were the only factor involved, but the kind of environment in which a large part of humanity lives today --- the environment created by technology at the service of immediate, short-term needs – does much to intensify this effect. Outside of works of art which embody something beyond our physical needs, our own constructions bore us. Those who, when they have built something and admired the finished product for a decent moment, are ready to pull it down and start on something new have good sense on their side.

Gods could not control nature or fate, but could reveal its workings at key times. If a god showed himself today to you, in a dream, would you have the inner energy and power to honor him and do his bidding in the world? Or would you, neutered by the modern pervasive hivemind of the slave, dismiss it, and yourself as unreal or unworthy, when it is the modern bugman and his blabbering that lacks reality.

Not only does the media fail to challenge our preconceptions - instead reinforcing them as media outlets try to cater to smaller audiences - but we all are able to find small groups of people who share and fortify the beliefs we have, no matter how quirky or outright wrong they might be. Ironically, all this interconnection is isolating us. We are becoming solipsists, trapped in worlds of our own creation.

Renunciation isn't a moral imperative or a form of self-denial. It's simply cooperation with the way things are: for moments do pass away, one after the other. Resisting this natural unfolding doesn't change it; resistance only makes it painful. So we renounce our resistance, our noncooperation, our stubborn refusal to enter life as it is. We renounce our fantasy of a beautiful past and an exciting future we can cherish and hold on to. Life just isn't like this. Life, time, is letting go, moment after moment. Life and time redeem themselves constantly, heal themselves constantly, only we don't know this, and much as we long to be healed and redeemed, we refuse to recognize this truth. This is why the sirens' songs are so attractive and so deadly. They propose a world of indulgence and wishful thinking, an unreal world that is seductive and destructive. (142)

Lift Not the Painted Veil Lift not the painted veil which those who live Call Life: though unreal shapes be pictured there, And it but mimic all we would believe With colours idly spread,—behind, lurk Fear And Hope, twin Destinies; who ever weave Their shadows, o'er the chasm, sightless and drear. I knew one who had lifted it—he sought, For his lost heart was tender, things to love, But found them not, alas! nor was there aught The world contains, the which he could approve. Through the unheeding many he did move, A splendour among shadows, a bright blot Upon this gloomy scene, a Spirit that strove For truth, and like the Preacher found it not.

I picked up a pencil and held it over a sheet of white paper, but my feelings stood in the way of my words. Well, I would wait, day and night, until I knew what to say. Humbly now, with no vaulting dream of achieving a vast unity, I wanted to try to build a bridge of words between me and that world outside, that world which was so distant and elusive that it seemed unreal. I would hurl words into this darkness and wait for an echo, and if an echo sounded, no matter how faintly, I would send other words to tell, to march, to fight, to create a sense of the hunger for life that gnaws in us all, to keep alive in our hearts a sense of the inexpressibly human.

Writing is an exhausting and demoralizing task that destroys human conceits. Writing an elongated series of personal essay opens a person’s mind to explore paradoxes and discover previously unrealized personal truths. Writing is as arduous as any trek into the wilderness. Every sentence takes a writer deeper into the jungle of the mind, a world of frightening inconsistencies created by our waking life’s desire that the world of chaos conform to our convenience.

Ever since 1945 the federal government has held and indeed increased its importance as the first customer of the American economy. Government spending had been the primary economic stimulant and to increase it had been the goal of hundreds of interest groups; hopes of balanced budgets and cheap, business-like administration always ran aground upon this fact. What was more, the United States was a democracy; whatever the doctrinaire objections to it, and however much rhetoric might be devoted to attacking it, a welfare state slowly advanced because voters wanted it that way. These facts gradually made the old ideal of totally free enterprise, unchecked and uninvaded by the influence of government, unreal.

For the rest, she grew used to the life that she was leading - used to the enormous sleepless nights, the cold, the dirt, the boredom, and the horrible communism of the Square. After a day or two she had ceased to feel even a flicker of surprise at her situation. She had come, like everyone about her, to accept this monstrous existence almost as though it were normal. The dazed, witless feeling that she had known on the way to the hopfields had come back upon her more strongly than before. It is the common effect of sleeplessness and still more of exposure. To live continuously in the open air, never going under a roof for more than an hour or two, blurs your perceptions like a strong light glaring in your eyes or a noise drumming in your ears. You act and plan and suffer, and yet all the while it is as though everything were a little out of focus, a little unreal. The world, inner and outer, grows dimmer till it reaches almost the vagueness of a dream.

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 re-fashioned anew for our pleasure in the darkness, 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.

But I'd begun, slowly, to understand that complex post-traumatic stress disorder, or cPTSD, was different. It was particularly difficult to treat, because - like a flat landscape - it didn't offer a significant landmark, an event, that you could focus on and work with. Complex post-traumatic stress, according to the psychiatrist Judith Lewis Herman, is the result of 'prolonged, repeated trauma,' rather than individual traumatic events. It's what happens when you're born into a world, shaped by a world, where there's no safety, ever. When the people who should take care of you are, instead, scary and unreliable, and when you live years and years without the belief that escape is possible. When you come from a world like this, when all your muscles are trained to tension and suspicion, normal life feels unbearable. It doesn't make sense, getting up, going to class, eating lunch, returning home, sleeping. You don't trust it. It doesn't feel real. And unreality can hurt more than pain.

Dualistic thinking is a sickness. Religion is a distortion. Materialism is cruel. Blind spirituality is unreal. Chanting is no more holy than listening to the murmur of a stream, counting prayer beads no more sacred than simply breathing, religious robes no more spiritual than work clothes. If you wish to attain oneness with the Tao, don't get caught up in spiritual superficialities. Instead, live a quiet and simple life, free of ideas and concepts. Find contentment in the practice of undiscriminating virtue, the only true power. Giving to others selflessly and anonymously, radiating light throughout the world and illuminating your own darknesses, your virtue becomes a sanctuary for yourself and all beings. This is what is meant by embodying the Tao.

The fantastic postulates that there are forces in the outside world, and in our own natures, which we can neither know nor control, and these forces may even constitute the essence of our existence, beneath the comforting rational surface. The fantastic is, moreover, a product of human imagination, perhaps even an excess of imagination. It arises when laws thought to be absolute are transcended, in the borderland between life and death, the animate and the inanimate, the self and the world; it arises when the real turns into the unreal, and the solid presence into vision, dream or hallucination. The fantastic is the unexpected occurrence, the startling novelty which goes contrary to all our expectations of what is possible. The ego multiplies and splits, time and space are distorted.

Erwin Strauss, in his brilliant monograph on obsession, similarly earlier showed how repulsed Swift was by the animality of the body, by its dirt and decay. Straus pronounced a more clinical judgment on Swift's disgust, seeing it as part of the typical obsessive's worldview: "For all obsessives sex is severed from unification and procreation....Through the...isolation of the genitals from the whole of the body, sexual functions are experienced as excretions and as decay." This degree of fragmentation is extreme, but we all see the world through obsessive eyes at least part of the time and to some degree; and as Freud said, not only neurotics take exception to the fact that "we are born between urine and feces." In t his horror of the incongruity of man Swift the poet gives more tormented voice to the dilemma that haunts us all, and it is worth summing it up one final time: Excreting is the curse that threatens madness because it shows man his abject finitude, his physicalness, the likely unreality of his hopes and dreams. But even more immediately, it represents man's utter bafflement at the sheer non-sense of creation: to fashion the sublime miracle of the human face, the mysterium tremendum of radiant female beauty, the veritable goddesses that beautiful women are; to bring this out of nothing, out of the void, and make it shine in noonday; to take such a miracle and put miracles again within it, deep in the mystery of eyes that peer out-the eye that gave even the dry Darwin a chill; to do all this, and to combine it with an anus that shits! It is too much. Nature mocks us, and poets live in torture.

The calamities that are constantly being reported - battles, massacres, famines, revolutions - tend to inspire in the average person a feeling of unreality. One has no way of verifying the facts, one is not even fully certain that they have happened, and one is always presented with totally different interpretations from different sources. Probably the truth is discoverable, but the facts will be so dishonestly set forth in almost any newspaper that the ordinary reader can be forgiven either for swallowing lies or for failing to form an opinion. The general uncertainty as to what is really happening makes it easier to cling to lunatic beliefs. Since nothing is ever quite proved or disproved, the most unmistakable fact can be impudently denied. Moreover, although endlessly brooding on power, victory, defeat, revenge, the nationalist is often somewhat uninterested in what happens in the real world. What he wants is to feel that his own unit is getting the better of some other unit, and he can more easily do this by scoring off an adversary than by examining the facts to see whether they support him.

The man who aims at his own aggrandizement underrates everything else. Compared to his ego the rest of the world is unreal. Thus in order to be fully conscious of the reality of all, one has to be free himself from the bonds of personal desires. This discipline we have to go through to prepare ourselves for our social duties - for sharing the burdens of our fellow-beings. Every endeavor to attain a larger life requires of man "to gain by giving away, and not to be greedy." And thus to expand gradually the consciousness of one's unity with all is the striving of humanity.

—so much more opportunity now." Her voice trails off. "Hurrah for women's lib, eh?" "The lib?" Impatiently she leans forward and tugs the serape straight. "Oh, that's doomed." The apocalyptic word jars my attention. "What do you mean, doomed?" She glances at me as if I weren't hanging straight either and says vaguely, "Oh …" "Come on, why doomed? Didn't they get that equal rights bill?" Long hesitation. When she speaks again her voice is different. "Women have no rights, Don, except what men allow us. Men are more aggressive and powerful, and they run the world. When the next real crisis upsets them, our so-called rights will vanish like—like that smoke. We'll be back where we always were: property. And whatever has gone wrong will be blamed on our freedom, like the fall of Rome was. You'll see." Now all this is delivered in a gray tone of total conviction. The last time I heard that tone, the speaker was explaining why he had to keep his file drawers full of dead pigeons. "Oh, come on. You and your friends are the backbone of the system; if you quit, the country would come to a screeching halt before lunch." No answering smile. "That's fantasy." Her voice is still quiet. "Women don't work that way. We're a—a toothless world." She looks around as if she wanted to stop talking. "What women do is survive. We live by ones and twos in the chinks of your world-machine." "Sounds like a guerrilla operation." I'm not really joking, here in the 'gator den. In fact, I'm wondering if I spent too much thought on mahogany logs. "Guerrillas have something to hope for." Suddenly she switches on a jolly smile. "Think of us as opossums, Don. Did you know there are opossums living all over? Even in New York City." I smile back with my neck prickling. I thought I was the paranoid one. "Men and women aren't different species, Ruth. Women do everything men do." "Do they?" Our eyes meet, but she seems to be seeing ghosts between us in the rain. She mutters something that could be "My Lai" and looks away. "All the endless wars …" Her voice is a whisper. "All the huge authoritarian organizations for doing unreal things. Men live to struggle against each other; we're just part of the battlefield. It'll never change unless you change the whole world. I dream sometimes of—of going away—" She checks and abruptly changes voice. "Forgive me, Don, it's so stupid saying all this." "Men hate wars too, Ruth," I say as gently as I can. "I know." She shrugs and climbs to her feet. "But that's your problem, isn't it?" End of communication. Mrs. Ruth Parsons isn't even living in the same world with me.

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

Instead, as the crystal splinters entered Hornwrack's brain, he experienced two curious dreams of the Low City, coming so quickly one after the other that they seemed simultaneous. In the first, long shadows moved across the ceiling frescoes of the Bistro Californium, beneath which Lord Mooncarrot's clique awaited his return to make a fourth at dice. Footsteps sounded on the threshold. The women hooded their eyes and smiled, or else stifled a yawn, raising dove-grey gloves to their blue, phthisic lips. Viriconium, with all her narcissistic intimacies and equivocal invitations welcomed him again. He had hated that city, yet now it was his past and it was he had to regret...The second of these visions was of the Rue Sepile. It was dawn, in summer. Horse-chestnut flowers bobbed like white wax candles above the deserted pavements. An oblique light struck into the street - so that its long and normally profitless perspective seemed to lead straight into the heart of a younger, more ingenuous city - and fell across the fronts of the houses where he had once lived, warming up the rotten brick and imparting to it a not unpleasant pinkish colour. Up at the second-floor casement window a boy was busy with the bright red geraniums arranged along the outer still in lumpen terra-cotta pots. He looked down at Hornwrack and smiled. Before Hornwrack could speak he drew down the lower casement and turned away. The glass which no separated them reflected the morning sunlight in a silent explosion; and Hornwrack, dazzled mistaking the light for the smile, suddenly imagined an incandescence which would melt all those old streets! Rue Sepile; the Avenue of Children; Margery Fry Court: all melted down! All the shabby dependencies of the Plaza of Unrealized Time! All slumped, sank into themselves, eroded away until nothing was left in his field of vision but an unbearable white sky above and the bright clustered points of the chestnut leaves below - and then only a depthless opacity, behind which he could detect the beat of his own blood, the vitreous humour of the eye. He imagined the old encrusted brick flowing, the glass cracking and melting from its frames even as they shrivelled awake, the sheds of paints flaring green and gold, the geraniums toppling in flames to nothing, not even white ash, under this weight of light! All had winked away like reflections in a jar of water glass, and only the medium remained, bright, viscid, vacant. He had a sense of the intolerable briefness of matter, its desperate signalling and touching, its fall; and simultaneously one of its unendurable durability He thought, Something lies behind all the realities of the universe and is replacing them here, something less solid and more permanent. Then the world stopped haunting him forever.

This is the place to which he is coming. This is the table at which he will sit. Here, incredible as it seems, will be his actual body. This table, these chairs, this metal vase with its three red flowers are about to undergo an extraordinary transformation. Already the room, with its swing-doors, its tables heaped with fruit, with cold joints, wears the wavering, unreal appearance of a place where one waits expecting something to happen. Things quiver as if not yet in being. The blankness of the white table-cloth glares. The hostility, the indifference of other people dining here is oppressive. We look at each other; see that we do not know each other, stare, and go off. Such looks are lashes. I feel the whole cruelty and indifference of the world in them. If he should not come I could not bear it. I should go. Yet somebody must be seeing him now. He must be in some cab; he must be passing some shop. And every moment he seems to pump into this room this prickly light, this intensity of being, so that things have lost their normal uses--this knife-blade is only a flash of light, not a thing to cut with. The normal is abolished.

… if she became distracted real things, which, with their violent, painful contortions, terrified her, would gain the upper hand over the unreal ones, which, with their physical and moral solidity, pacified her; she would be plunged into a sticky, jumbled reality and would never again be able to give sensations clear outlines. A tactile emotion would melt into a visual one, a visual one would melt emotion into an olfactory one, ah, what is the real world, Lenù, nothing, nothing, nothing about which one can say conclusively: it’s like that. And so if she didn’t stay alert, if she didn’t pay attention to the boundaries, the waters would break through, a flood would rise, carrying everything off in clots of menstrual blood, in cancerous polyps, in bits of yellowish fibre.

Berlin. November 18, 1917. Sunday. I think Grosz has something demonic in him. This new Berlin art in general, Grosz, Becher, Benn, Wieland Herzfelde, is most curious. Big city art, with a tense density of impressions that appears simultaneous, brutally realistic, and at the same time fairy-tale-like, just like the big city itself, illuminating things harshly and distortedly as with searchlights and then disappearing in the glow. A highly nervous, cerebral, illusionist art, and in this respect reminiscent of the music hall and also of film, or at least of a possible, still unrealized film. An art of flashing lights with a perfume of sin and perversity like every nocturnal street in the big city. The precursors are E.T.A. Hoffmann, Breughel, Mallarmé, Seurat, Lautrec, the futurists: but in the density and organization of the overwhelming abundance of sensation, the brutal reality, the Berliners seem new to me. Perhaps one could also include Stravinsky here (Petrushka). Piled-up ornamentation each of which expresses a trivial reality but which, in their sum and through their relations to each other, has a thoroughly un-trivial impact. All round the world war rages and in the center is this nervous city in which so much presses and shoves, so many people and streets and lights and colors and interests: politics and music hall, business and yet also art, field gray, privy counselors, chansonettes, and right and left, and up and down, somewhere, very far away, the trenches, regiments storming over to attack, the dying, submarines, zeppelins, airplane squadrons, columns marching on muddy streets, Hindenburg and Ludendorff, victories; Riga, Constantinople, the Isonzo, Flanders, the Russian Revolution, America, the Anzacs and the poilus, the pacifists and the wild newspaper people. And all ending up in the half-darkened Friedrichstrasse, filled with people at night, unconquerable, never to be reached by Cossacks, Gurkhas, Chasseurs d'Afrique, Bersaglieris, and cowboys, still not yet dishonored, despite the prostitutes who pass by. If a revolution were to break out here, a powerful upheaval in this chaos, barricades on the Friedrichstrasse, or the collapse of the distant parapets, what a spark, how the mighty, inextricably complicated organism would crack, how like the Last Judgment! And yet we have experienced, have caused precisely this to happen in Liège, Brussels, Warsaw, Bucharest, even almost in Paris. That's the world war, all right.

Now, even though it be neither necessity nor caprice, history, for the authentic reactionary, is not, for all that, an interior dialectic of the immanent will, but rather a temporal adventure between man and that which transcends him. His labors are traces, on the disturbed sand, of the body of a beast and the aura of an angel. History is a tatter, torn from man’s freedom, waving in the breath of destiny. Man cannot be silent because his liberty is not merely a sanctuary where he escapes from deadening routine and takes refuge in order to become his own master. But in the free act the radical does not attain possession of his essence. Liberty is not an abstract possibility of choosing among known goods, but rather the concrete condition in which we are granted the possession of new goods. Freedom is not a momentary judgement between conflicting instincts, but rather the summit from which man contemplates the ascent of new stars among the luminous dust of the starry sky. Liberty places man among prohibitions that are not physical and imperatives that are not vital. The free moment dispels the unreal brightness of the day, in order that the motion of the universe which slides its fleeting lights over the shuddering of our flesh might rise up on the horizon of our soul. If the progressive casts himself into the future, and the conservative into the past, the authentic reactionary does not measure his anxiety with the history of yesterday or with the history of tomorrow. He does not extol what the new dawn might bring, nor is he terrified by the last shadows of the night. His spirit rises up to a space where the essential accosts him with its immortal presence. One escapes the slavery of history by pursuing in the wildness of the world the traces of divine footsteps. Man and his deeds are a vital but servile and mortal flesh that breathes gusts from beyond the mountains. To be reactionary is to champion causes that do not turn up on the notice board of history, causes where losing does not matter. It is to know that we only discover what we think we invent; to admit that our imagination does not create, but only lays bare smooth surfaces. It is not to espouse settled cases, nor to plead for determined conclusions, but rather to submit our will to the necessity that does not constrain, to surrender our freedom to the exigency that does not compel; it is to find sleeping certainties that guide us to the edge of ancient pools. The reactionary is not a nostalgic dreamer of a canceled past, but rather a seeker of sacred shades upon eternal hills.

Individuality, conceived as a temporal development involves uncertainty, indeterminacy, or contingency. Individuality is the source of whatever is unpredictable in the world....genuine time, if it exists as anything else except the measure of motions in space, is all one with the existence of individuals as individuals, with the creative, with the occurrence of unpredictable novelties. Everything that can be said contrary to this conclusion is but a reminder that an individual may lose his individuality, for individuals become imprisoned in routine and fall to the level of mechanisms. Genuine time then ceases to be an integral element of their being. Our behavior becomes predictable, because it is but an external rearrangement of what went before....surrender of individuality by the many to someone who is taken to be a superindividual explains the retrograde movement of society. Dictatorships and totalitarian states, and belief in the inevitability of this or that result coming to pass are, strange as it may sound, ways of denying the reality of time and the creativeness of the individual....the artist in realizing his own individuality reveals potentialities hitherto unrealized. The revelation is the inspiration of other individuals to make the potentialities real, for it is not sheer revolt against things as they are which stirs human endeavor to its depth, but vision of what might be and is not. Subordination of the artists to any special cause no matter how worthy does violence not only to the artist but to the living source of a new and better future.

The unreal is the illogical. And this age seems to have a capacity for surpassing even the acme of illogicality, of anti-logicality: it is as if the monstrous reality of the war had blotted out the reality of the world. Fantasy has become logical reality, but reality evolves the most a-logical phantasmagoria. An age that is softer and more cowardly than any preceding age suffocates in waves of blood and poison-gas; nations of bank clerks and profiteers hurl themselves upon barbed wire; a well-organized humanitarianism avails to hinder nothing, but calls itself the Red Cross and prepares artificial limbs for the victims; towns starve and coin money out of their own hunger; spectacled school-teachers lead storm-troops; city dwellers live in caves; factory hands and other civilians crawl out on their artificial limbs once more to the making of profits. Amid a blurring of all forms, in a twilight of apathetic uncertainty brooding over a ghostly world, man like a lost child gropes his way by the help of a small frail thread of logic through a dream landscape that he calls reality and that is nothing but a nightmare to him. The melodramatic revulsion which characterizes this age as insane, the melodramatic enthusiasm which calls it great, are both justified by the swollen incomprehensibility and illogicality of the events that apparently make up its reality. Apparently! For insane or great are terms that can never be applied to an age, but only to an individual destiny. Our individual destinies, however, are as normal as they ever were. Our common destiny is the sum of our single lives, and each of these single lives is developing quite normally, in accordance, as it were, with its private logicality. We feel the totality to be insane, but for each single life we can easily discover logical guiding motives. Are we, then, insane because we have not gone mad?

Everything and Nothing* There was no one inside him; behind his face (which even in the bad paintings of the time resembles no other) and his words (which were multitudinous, and of a fantastical and agitated turn) there was no more than a slight chill, a dream someone had failed to dream. At first he thought that everyone was like him, but the surprise and bewilderment of an acquaintance to whom he began to describe that hollowness showed him his error, and also let him know, forever after, that an individual ought not to differ from its species. He thought at one point that books might hold some remedy for his condition, and so he learned the "little Latin and less Greek" that a contemporary would later mention. Then he reflected that what he was looking for might be found in the performance of an elemental ritual of humanity, and so he allowed himself to be initiated by Anne Hathaway one long evening in June. At twenty-something he went off to London. Instinctively, he had already trained himself to the habit of feigning that he was somebody, so that his "nobodiness" might not be discovered. In London he found the calling he had been predestined to; he became an actor, that person who stands upon a stage and plays at being another person, for an audience of people who play at taking him for that person. The work of a thespian held out a remarkable happiness to him—the first, perhaps, he had ever known; but when the last line was delivered and the last dead man applauded off the stage, the hated taste of unreality would assail him. He would cease being Ferrex or Tamerlane and return to being nobody. Haunted, hounded, he began imagining other heroes, other tragic fables. Thus while his body, in whorehouses and taverns around London, lived its life as body, the soul that lived inside it would be Cassar, who ignores the admonition of the sibyl, and Juliet, who hates the lark, and Macbeth, who speaks on the moor with the witches who are also the Fates, the Three Weird Sisters. No one was as many men as that man—that man whose repertoire, like that of the Egyptian Proteus, was all the appearances of being. From time to time he would leave a confession in one corner or another of the work, certain that it would not be deciphered; Richard says that inside himself, he plays the part of many, and Iago says, with curious words, I am not what I am. The fundamental identity of living, dreaming, and performing inspired him to famous passages. For twenty years he inhabited that guided and directed hallucination, but one morning he was overwhelmed with the surfeit and horror of being so many kings that die by the sword and so many unrequited lovers who come together, separate, and melodiously expire. That very day, he decided to sell his theater. Within a week he had returned to his birthplace, where he recovered the trees and the river of his childhood and did not associate them with those others, fabled with mythological allusion and Latin words, that his muse had celebrated. He had to be somebody; he became a retired businessman who'd made a fortune and had an interest in loans, lawsuits, and petty usury. It was in that role that he dictated the arid last will and testament that we know today, from which he deliberately banished every trace of sentiment or literature. Friends from London would visit his re-treat, and he would once again play the role of poet for them. History adds that before or after he died, he discovered himself standing before God, and said to Him: I , who have been so many men in vain, wish to be one, to be myself. God's voice answered him out of a whirlwind: I, too, am not I; I dreamed the world as you, Shakespeare, dreamed your own work, and among the forms of my dream are you, who like me, are many, yet no one.