Wearing Mask Quotes

You wear a mask for so long, you forget who you were beneath it.

He often felt that too many people lived their lives acting and pretending,wearing masks and losing themselves in the process.

No man, for any considerable period, can wear one face to himself and another to the multitude, without finally getting bewildered as to which may be the true.

behind the mask of ice that people wear, there beats a heart of fire.

We all wear masks, and the time comes when we cannot remove them without removing some of our own skin.

Why do you wear a mask and hood?" I think everybody will in the near future," was the man in black's reply. "They're terribly comfortable.

He wears a mask, and his face grows to fit it.

The irony of life is that those who wear masks often tell us more truths than those with open faces.

I wish every day could be Halloween. We could all wear masks all the time. Then we could walk around and get to know each other before we got to see what we looked like under the masks.

All great things must first wear terrifying and monstrous masks in order to inscribe themselves on the hearts of humanity.

Soul Alone by Hannah Baker I meet your eyes you don't even see me You hardly respond when I whisper hello Could be my soul mate two kindred spirits Maybe we're not I guess we'll never know My own mother you carried me in you Now you see nothing but what I wear People ask you how I'm doing You smile and nod don't let it end there Put me underneath God's sky and know me don't just see me with your eyes Take away this mask of flesh and bone and See me for my soul alone

If you want to say something and have people listen then you have to wear a mask. If you want to be honest then you have to live a lie.

The most exhausting thing in life, I have discovered, is being insincere. That is why so much of social life is exhausting; one is wearing a mask. I have shed my mask.

All societies end up wearing masks.

We are all wearing masks. That is what makes us interesting.

People are more complicated than the masks they wear in society.

Because pretending to be happy is almost like being happy. Until you remember that you’re only pretending. Then you’re sad. Really sad. Because wearing a mask every day of your life is the hardest thing to do. And after a while, you get a little scared because the mask becomes you.

None will ever be a true Parisian who has not learned to wear a mask of gaiety over his sorrows and one of sadness, boredom, or indifference over his inward joy.

People wears a mask of lie so they look attractive , so be careful

Boredom is a mask frustration wears.

Can’t you see, these masks we wear betray us. They reveal us.

If you want a lover I'll do anything you ask. If you want a different kind of love I'll wear a mask. If you want to strike me down in anger here I stand. If you want a partner in life take my hand. I'm your man.

We wear the mask that grins and lies, It hides our cheeks and shades our eyes,— This debt we pay to human guile; With torn and bleeding hearts we smile

And to the casual observer it looks like I have moved on since I go around wearing my little happy mask all day. I smile and laugh and carry on like my heart's still in one piece, but beneath it all, I am dying.

Grown-ups might not have their shit figured out any more than we do. They just wear more-convincing masks. That disappoints me

Your smile.” I cut him off before his offer can tempt me. “I like when you truly smile. When you’re not wearing the mask of the future Enforcer or the prince, and you simply allow me to see you. It’s a smile I wish you would share with me more often.

One last time - you have to wear this mask one last time, and then you can bury Celaena Sardothien forever.

If you wear a mask for too long, there will come a time when you can not remove it without removing your face.

America's greatest crime against the black man was not slavery or lynching, but that he was taught to wear a mask of self-hate and self-doubt.

There are boys you look at and want to touch with your mouth, and there are boys you look at and want to wear one of those surgical masks everyone in China had during bird flu. There are a lot more bird-flu boys at large.

There's nothing grimmer than the tragedy that wears a comic mask.

Wear the mask. Hide the man. Feel nothing. See everything. Move and kill. Move and kill. I am not a man. They are not men.

Of all individuals, the hated, the shunned, and the peculiar are arguably most themselves. They wear no masks whatsoever in order to be accepted and liked; they do seem most guarded, but only by their own hands: as compared to the populace, they are naked.

Who knows what true happiness is, not the conventional word.. but the naked terror. To the lonely themselves, that wears a mask, the most miserable outcast hugs some memory.. or some illusion.

There are people in this world who can wear whale masks and people who cannot, and the wise know to which group they belong.

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

sometimes we wear masks so long to hide what we truly feel that those layers become an extra skin, a part of our identity

Those masks we wear not to shield others; but ourselves from who we are.

I look older. Maybe it's the short hair or maybe it's just that I wear all that has happened like a mask. Either way, I always thought I would be happy when I stopped looking like a child. But all I feel is a lump in my throat. I am no longer the daughter my parents knew. They will never know me as I am now.

This life is so complex that we rarely get to be the people we are truly meant to be. Instead, we wear masks and put up walls to keep from dealing with the fear of rejection, the feeling of regret, the very idea that someone may not love us for who we are deep in our core, that they might not understand the things that drive us.

Evil is no faceless stranger, living in a distant neighborhood. Evil has a wholesome, hometown face, with merry eyes and an open smile. Evil walks among us, wearing a mask which looks like all our faces.

Everyone wears metaphorical masks during their lives. We all have different faces we show to work colleagues, or friends, or family. Sometimes we wear so many masks, we forget who we are underneath it all, but you have to find the courage to drop all the bullshit and revel your true self.

The Great Man... is colder, harder, less hesitating, and without fear of 'opinion'; he lacks the virtues that accompany respect and 'respectability,' and altogether everything that is the 'virtue of the herd.' If he cannot lead, he goes alone... He knows he is incommunicable: he finds it tasteless to be familiar... When not speaking to himself, he wears a mask. There is a solitude within him that is inaccessible to praise or blame.

Perfection doesn't exist," I reply. "It's a mask people wear to conceal their ugly truths. Never trust someone who only ever smiles at you.

Cecily. This is no time for wearing the shallow mask of manners. When I see a spade I call it a spade. Gwendolen. [Satirically.] I am glad to say that I have never seen a spade. It is obvious that our social spheres have been widely different.

Do you think you wear a mask?’ ‘I’m wearing one right now.’ Valentino smiled softly. ‘We both are.’ ‘It’s a sad thought.’ ‘Yes,’ he said. ‘But sometimes I wonder about the alternative. Imagine if we had no secrets, no respite from the truth. What if everything was laid bare the moment we introduced ourselves?

Horror itself is a bit of a bullied genre, the antagonist being literary snobbery and public misconception. And I think good horror tackles our darkest fears, whatever they may be. It takes us into the minds of the victims, explores the threats, disseminates fear, studies how it changes us. It pulls back the curtain on the ugly underbelly of society, tears away the masks the monsters wear out in the world, shows us the potential truth of the human condition. Horror is truth, unflinching and honest. Not everybody wants to see that, but good horror ensures that it's there to be seen.

Masquerades disclose the reality of souls. As long as no one sees who we are, we can tell the most intimate details of our life. I sometimes muse over this sketch of a story about a man afflicted by one of those personal tragedies born of extreme shyness who one day, while wearing a mask I don’t know where, told another mask all the most personal, most secret, most unthinkable things that could be told about his tragic and serene life. And since no outward detail would give him away, he having disguised even his voice, and since he didn’t take careful note of whoever had listened to him, he could enjoy the ample sensation of knowing that somewhere in the world there was someone who knew him as not even his closest and finest friend did. When he walked down the street he would ask himself if this person, or that one, or that person over there might not be the one to whom he’d once, wearing a mask, told his most private life. Thus would be born in him a new interest in each person, since each person might be his only, unknown confidant.

The people you think are the happiest are usually the saddest; that's because they see more and feel deeper than others do. They are the sensitive and they see beyond the veil of what's tangible and what's not. They wear no masks and can see through the masks of others. The sensitive to life are few in number, which is why they feel so alone...because they are all alone.

We become the masks we wear.

Be careful what masks you wear, child, lest you lose your true face forever.

If you want a lover I'll do anything you ask me to. And if you want another kind of love I'll wear a mask for you.

Camilla: You, sir, should unmask. Stranger: Indeed? Cassilda: Indeed it’s time. We all have laid aside disguise but you. Stranger: I wear no mask. Camilla: (Terrified, aside to Cassilda.) No mask? No mask! -- The King in Yellow, Act I, Scene 2.

She, at least, ought to have known that he was wearing a mask, and having found that out, she should have torn it from his face, whenever they were alone together....Her love for him had been paltry and weak, easily crushed by her own pride

How many of them have secrets they don't want the world to know? How many of them wear masks wherever they go? We're anything but typical.

No matter the masks we wear, we always end up together.

The devil does indeed wear a beautiful mask.

No one reveals himself as he is; we all wear a mask and play a role. - On Psychology

It didn't take a trauma to make you wear a mask. It didn't take your parents getting shot...or cosmic rays or a power ring...Just the perfect combination of loneliness and despair.

Some 2,600 years ago the ancient Greek poet Pindar wrote, “Become who you are by learning who you are.” What he meant is the following: You are born with a particular makeup and tendencies that mark you as a piece of fate. It is who you are to the core. Some people never become who they are; they stop trusting in themselves; they conform to the tastes of others, and they end up wearing a mask that hides their true nature. If you allow yourself to learn who you really are by paying attention to that voice and force within you, then you can become what you were fated to become—an individual, a Master.

What term do you employ when you speak of your progenitor?" I answered with the term I'd always wanted to employ. "Sonovabitch." "To his face?" she asked. "I never see his face." "He wears a mask?" "In a way, yes. Of stone. Of absolute stone.

What happens when you strip away all the masks a man wears and you find not a face beneath them but nothing at all?

The range of emotions and the masks people wear. The meaning underneath the meaning underneath the meaning that can't truly explain anything.

A person never knows their own true face. Everybody thinks that the phoney, posed social mask they wear is their real face.

Alarm clocks were invented by fork-tongued devils disguised as gremlins wearing snake masks.

I know that sometimes people fake on each other out of genuine motives to hold onto the object of their tenderest feelings. They see themselves as so inadequate that they feel forced to wear a mask in order to continuously impress the other. I do not want to "hold" you, I want you to "stay" out of your own need for me.

I have to wonder if he has masks he wears, too. Maybe we all do.

The angel destroyed me! He seduced me with a pure voice, spoke kind words, and stroked my hair to lower my guard, to make me trust him, to trick me! He sullied my body, my voice, my heart; remade me as a terrifying monster; turned me into his companion! The angel was a disfigured phantom wearing a mask!

I told them we’re tired of the culture wars, tired of Christianity getting entangled with party politics and power. Millennials want to be known by what we’re for, I said, not just what we’re against. We don’t want to choose between science and religion or between our intellectual integrity and our faith. Instead, we long for our churches to be safe places to doubt, to ask questions, and to tell the truth, even when it’s uncomfortable. We want to talk about the tough stuff—biblical interpretation, religious pluralism, sexuality, racial reconciliation, and social justice—but without predetermined conclusions or simplistic answers. We want to bring our whole selves through the church doors, without leaving our hearts and minds behind, without wearing a mask.

Everyone wears masks. They come in all different shapes and sizes. The only problem with trying one on - is that it fits. How easily we fall into the trap that we don't have to be who we really are. How easily we convince ourselves that we need to cover up what we were born to be. It's a tragedy - that fear keeps us from our destiny. It's hell - when the person you were created to be - is covered up by some cheap imposter.

Learning to wear a mask (that word already embedded in the term “masculinity”) is the first lesson in patriarchal masculinity that a boy learns. He learns that his core feelings cannot be expressed if they do not conform to the acceptable behaviors sexism defines as male. Asked to give up the true self in order to realize the patriarchal ideal, boys learn self-betrayal early and are rewarded for these acts of soul murder.

I cannot be afraid. I’ve spent too long being afraid. Too long being diminished by loss. Too long being everything except what I need to be. And whether I am the Reaper, or whether it’s just another mask, it’s one I must wear, not just for them, but for myself.

We wear the mask that grins and lies, It hides our cheeks and shades our eyes,- - This debt we pay to human guile; With torn and bleeding hearts we smile And mouth with myriad subtleties. Why should the world be otherwise, In counting all our tears and sighs? Nay, let them only see thus, while We wear the mask. We smile, but, O great Christ, our cries To thee from tortured souls arise. We sing, but oh the clay is vile Beneath our feet, and long the mile; But let the world dream otherwise, We wear the mask!

We all wear masks, but it's the one we choose to wear that makes a difference.

It’s of some interest that the lively arts of the millenial U.S.A. treat anhedonia and internal emptiness as hip and cool. It’s maybe the vestiges of the Romantic glorification of Weltschmerz, which means world-weariness or hip ennui. Maybe it’s the fact that most of the arts here are produced by world-weary and sophisticated older people and then consumed by younger people who not only consume art but study it for clues on how to be cool, hip - and keep in mind that, for kids and younger people, to be hip and cool is the same as to be admired and accepted and included and so Unalone. Forget so-called peer-pressure. It’s more like peer-hunger. No? We enter a spiritual puberty where we snap to the fact that the great transcendent horror is loneliness, excluded encagement in the self. Once we’ve hit this age, we will now give or take anything, wear any mask, to fit, be part-of, not be Alone, we young. The U.S. arts are our guide to inclusion. A how-to. We are shown how to fashion masks of ennui and jaded irony at a young age where the face is fictile enough to assume the shape of whatever it wears. And then it’s stuck there, the weary cynicism that saves us from gooey sentiment and unsophisticated naivete. Sentiment equals naïveté on this continent... ...Hal, who’s empty but not dumb, theorizes privately that what passes for hip cynical transcendence of sentiment is really some kind of fear of being really human, since to be really human (at least as he conceptualizes it) is probably to be unavoidably sentimental and naive and goo-prone and generally pathetic, is to be in some basic interior way forever infantile, some sort of not-quite-right-looking infant dragging itself anaclitically around the map, with big wet eyes and froggy-soft skin, huge skull, gooey drool. One of the really American things about Hal, probably, is the way he despises what it is he’s really lonely for: this hideous internal self, incontinent of sentiment and need, that pules and writhes just under the hip empty mask, anhedonia.

We wear different masks and hide our reality from everyone, including ourselves. Our assumed identities becomes our whole lives, and we start to believe them—even more than others do.

But, in this world, life is a masquerade. Everyone wears masks.

But he place a gentle palm under her chin and turned her face back to him. “I'm privileged to see you like this,” he said, his eyes fierce. “Wear you social mask at your balls and parties and when you visit your friends out there, but when we are alone, just the two of us in here, promise me this: that you'll show me only your real face, no matter how ugly you might think it. That's our true intimacy, not sex, but the ability to be ourselves when we are together. (Winter Makepeace)

Real monsters don’t wear masks,” I teased. He shrugged. “Real monsters might not care about being identified, either. No mask, no fun for you.” Aw, my man. Layin’ down the law. God, it turned me on.

We all wear masks, some with makeup some with smiles some with wives or husbands cars or clothes we hide from the world and from ourselves we hide from our truths behind our eyes running always from our real but somewhere there where truth meets courage we are waiting to be found

We tried to make a heaven of earth, But the earth is just a stage, a school, Where we wear our masks and play our roles And teach each other how to love.

Behind Joy and Laughter there may be a temperament, coarse, hard and callous. But behind Sorrow there is always Sorrow. Pain, unlike Pleasure, wears no mask.

The face one wears as an adult is a mask that's cut to fit in her youth.

Wearing a mask can thus be a strange thing: sometimes, more often than we tend to believe, there is more truth in the mask that in what we assume to be our "real self.

The face of sin today often wears the mask of tolerance. Do not be deceived; behind that facade is heartache, unhappiness and pain. .. YOU be the one to make a stand for right, even if you stand alone. Have the moral courage to be a light for others to follow.

the only night that people don't look horrible is halloween because everyone wears a clear mask that hides their two faces!

Halloween is a day in which some people choose to wear a mask… while others finally feel safe to take theirs off.

Pity is destruction wearing a mask of sympathy.

Cruelty is easy, and it breeds only misery. Kindness is harder, and you have to be brave to give it. To be cruel, you can stay closed off from everyone, wear a mask, but to be kind, in essence, to show love, you have to make yourself vulnerable, show your true self to someone and open yourself up to rejection.

If there’s one thing my mother taught me, it is how to wear the perfect mask. Never show them what you’re really feeling because that’s how they hurt you.

Sometimes, when you wear a mask too long, you find it sticks to the skin.

What, in all the world, could I do to earn my living and still live as myself, as I knew myself to be. Temporary masks, I knew, had their place; everyone was wearing them, they were the human rage; but not masks cemented in place until the wearer could not breathe and was eventually suffocated.

Never stop being a kid, Richard. Never stop feeling and seeing and being excited with great things like air and engines and sounds of sunlight within you. Wear your little mask if you must to protect you from the world but if you let that kid disappear you are grown up and you are dead.

I try to imagine keeping something like that a secret for my whole life. It would be like always wearing a mask over your face, which everyone believed was the real you. You would be the only person who knew it wasn't--and who knew that you could never take it off.

Masks reveal the shape of your soul and the state of the world and, in today’s world, everyone wears a mask.

People wear masks in the light because true happiness are the agents of deception and delusion.

Nobody wears a black mask forever.

The shadow is the image of ourselves that slides along behind us as we walk toward the light. The persona, its opposite, is named after the Roman term for an actor’s mask. It is the face we wear to meet the social world around us.

But before I could pull back onto the highway, the blue and red flashing lights of a police cruiser lit up behind me. I watched as the officer, wearing a mask, approached. He motioned for me to put on a mask and open my window. How could I put on a mask? I didn’t have one. I mouthed, no mask. He pulled one out of his uniform jacket pocket. One of those despicable thin blue paper masks. Now what the hell good was that going to do either of us?

In order to protect our emotional wounds, and because of our fear of being hurt, humans create something very sophisticated in the mind: a big denial system. In that denial system we become the perfect liars. We lie so perfectly that we lie to ourselves and we even believe our own lies. We don’t notice we are lying, and sometimes even when we know we are lying, we justify the lie and excuse the lie to protect ourselves from the pain of our wounds. The denial system is like a wall of fog in front of our eyes that blinds us from seeing the truth. We wear a social mask because it’s too painful to see ourselves or to let others see us as we really are. And the denial system lets us pretend that everyone believes what we want them to believe about us. We put up these barriers for protection, to keep other people away,

Hypocrisy is saying we believe something, then living as if we didn’t. Hypocrisy is preaching and not practicing. It says do as I say not as I do. It’s insincerity wearing a mask of sincerity.

Once you drop a mask, you can never wear it again.

One of the tragedies of North Korea is that everyone wears a mask, which they let slip at their peril.

It's easier for the former masters to put aside the masks that hid their humanity than for the former slaves to recognise the faces underneath. Or to trust that this is not a new mask these are wearing.

Human life--that appeared to him the one thing worth investigating. Compared to it there was nothing else of any value. It was true that as one watched life in its curious crucible of pain and pleasure, one could not wear over one's face a mask of glass, nor keep the sulphurous fumes from troubling the brain and making the imagination turbid with monstrous fancies and misshapen dreams.

The real meaning of persona is a mask, such as actors were accustomed to wear on the ancient stage; and it is quite true that no one shows himself as he is, but wears his mask and plays his part. Indeed, the whole of our social arrangements may be likened to a perpetual comedy; and this is why a man who is worth anything finds society so insipid, while a blockhead is quite at home in it.

So, yeah, his people wouldn't have just frowned on his sex life; they would have handled him only with barbecue tongs while wearing a Hazmat suit and a welding mask

Pain wears no mask .it makes man humble.

Few people in our culture have the courage to be themselves. Most people adopt roles, play games, wear masks, or put up facades.

When the white man turns tyrant it is his own freedom that he destroys.He becomes a sort of hollow,posing dummy,the conventional figure of a sahib.For it is the condition of his rule that he shall spend his life in trying to impress the "natives",and so in every crisis he has got to do what the "natives" expect of him.He wears a mask and his face grows to fit it.

We'd considered wearing uniform but Lesley said, what with her mask and everything, she'd look like a plastic cop monster from Doctor Who. I managed to restrain myself from telling her their real name.

This is what they say: Secure your own mask before helping others. And i think of us, all the people, and the masks we wear, the masks we hide behind and the masks that reveal. I imagine people pretending to be what they truly are, and discovering that other people are so much more and so much less than they imagined themselves to be or present themselves as. And then, I think about the need to help others, and how we mask ourselves to do it, and how unmasking makes us vulnerable... We are all wearing masks. That is what makes us interesting.

At least we both know how shitty the world is. You wearing a beard as a mask to disguise it. I wearing my tired smile. I don't see how you do it. One hundred thousand university students marching with you. Toward A necessity which is not love but is a name.

Even when he was barely conscious, his strong personality came through. At one point the pulmonologist tried to put a mask over his face when he was sedated. Jobs ripped it off and mumbled that he hated the design and refused to wear it. He ordered them to bring five different options and he would pick the one he liked.

What would be frightening about me jumping out of the bush wearing a pig mask is not the sudden surprise, not me, and not the pig mask, but that the ordinary world had split open for a moment to reveal some possibility never previously considered.

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.

Because when you wear a mask long enough, it gets really hard to take it off. The mask becomes your face.

None will ever be true Parisian who has not learned to wear a mask of gaiety over his sorrows...

Pride wears a lot of different masks. Some are easier to see than others.

What I wear on and off stage is my mask. You see, a mask doesn't hide you, it exposes you.

take special note of how people respond to stressful situations—often the mask they wear in public falls off in the heat of the moment.

The irony of life is that those who wear masks often tell us more truths than those with open faces. —Masquerade, by Salvatore Laccona

I am a good liar, Malini thought. It is not my fault you see through me, as if every mask I wear is nothing but gauze, and my love for you a lamp.

For me, Halloween is the best holiday in the world. It even beats Christmas. I get to dress up in a costume. I get to wear a mask. I get to go around like every other kid with a mask and nobody thinks I look weird. Nobody takes a second look. Nobody notices me. Nobody knows me. I wish every day could be Halloween. We could all wear masks all the time. Then we could walk around and get to know each other before we got to see what we looked like under the masks.

Everyone wears masks.They come in all different shapes and sizes.The only problem with trying one on is that it fits. How easily we fall into the trap that we don’t have to be who we really are.How easily we convince ourselves that we need to cover up what we were born to be.It’s a tragedy that fear keeps us from our destiny.It’s hell when the person you were created to be is covered up by some cheap imposter

Relationships are about taking off the mask you wear to make someone like you and letting them see the real you. The one you hid all the time. The one you never thought was good enough to find love in the first place.

Did I ever tell you that I want to wear a big yellow smiley-face mask and then put on the CD version of Bobby McFerrin’s ‘Don’t Worry, Be Happy’ and then take a girl and a dog—a collie, a chow, a sharpei, it doesn’t really matter—and then hook up this transfusion pump, this IV set, and switch their blood, you know, pump the dog’s blood into the hardbody and vice versa, did I ever tell you this?

Life as it proceeds reveals, cooly and dispassionately, what lies behind the mask that each man wears. It would seem that everyone possesses several faces. Some people use only one all the time, and it then, naturally, becomes soiled and wrinkled. These are the thrifty sort. Others look after their masks in the hope of passing them on to their descendants. Others again are constantly changing their faces. But all of them, when they reach old age, realise one day that the mask they are wearing is their last and that it will soon be worn out, and then, from behind the last mask, the real face appears.

It's hard for a masked man to hide behind a mask when he isn't wearing one.

Sometimes wearing a mask is the best way to show our true selves.

Once you wear a mask for as long as she has, it’s nearly impossible to take it off. Either that, or she’s the one who feels invisible.

Vice, in its true light, is so deformed, that it shocks us at first sight; and would hardly ever seduce us, if it did not at first wear the mask of some virtue.

Funny, isn’t it? We middle-class people secretly want that the poor should remain poor, as poverty is a necessary condition for an easy supply of servants. Yet out in the open, we pretend that the penury of the masses concerns us deeply. We hide who we are and wear masks. All of us.

Without wearing any mask we are conscious of, we have a special face for each friend

You’re wearing a mask right now, Donut, and you don’t know how to remove it. That’s okay. You don’t need to. Not yet. That mask is protecting you.

You don't shower or shave for a month, until you smell like a sewer. Then you walk around for two weeks wearing a dress and a goalie mask with a dildo strapped to the front. That's what I did. And I will never be afraid of public humiliation again.

I'm starting to realize that being born into this social world is a little like being born into clean air. You take it in as soon as you breathe, and pretty soon you don't even realize that while you can walk around with clear lungs, other people are wearing oxygen masks just to survive.

«He grins and straightens, wings high and regal behind him. I glare at his costume. It’s so typical him. A mix of medieval and rock star: brown leather forearm guards with studs over a ruffle-cuffed white shirt, and a cavalier doublet in burgundy with a gold lace overlay. The hem hits above his muscled thighs, so the skintight burgundy hose taper smoothly into knee-high brown boots, leaving nothing to the imagination. Worst of all, he has a crown. He dressed as a fairy king. The irony doesn’t escape me. I scowl. “Problem, luv?” He looks down on me from behind a gold lace half mask while adjusting the ruby-jeweled crown over his blue hair with velvet-clad hands. Tiny moth corpses are suspended in the rubies, like stained-glass fossils. I shake my head. “I’m pretty sure you’ll be the only one wearing anything tight enough to need a codpiece. Always have to be the showstopper, don’t you?” “Oh, I assure you, what I chose to show is only the start.»

He loves me without having to say it. He cherishes me without having to prove it. When he touches me I know what he's thinking, how he truly feels beneath that mask he wears in the face of others. I'm the only soul he's ever let into his life completely. And the only one he'll never let go.

M. That’s what I call her, this normal, nonexistent me. It’s not that I’ve never done those things, kissed or danced or just “hung out.” I have. But it was put-on, a character, a lie. I am so good at it—lying—but I can’t lie to myself. I can pretend to be M; I can wear her like a mask. But I can’t be her. I’ll never be her.

Why do we as humans always tend to remember the worse things about people? We may know someone for many years, know them as vibrant and healthy, yet when they fall ill and pass away, we can only picture them at their sickest, as though they were born and lived their whole lives wearing a death mask.

if you wear a mask long enough, you start to forget who you really are.

Master Seneca says that ‘No one can wear a mask for very long.’ This is true; but someone can wear different masks for very long!

No one told me that when I wear a mask, only my mask receives love.

All of us, more or less, wear masks. Because without masks we can’t survive in this violent world. Beneath an evil-spirit mask lies the natural face of an angel, beneath an angel’s mask lies the face of an evil spirit. It’s impossible to have just one or the other. That’s who we are. And that’s Carnaval. Schumann was able to see the many faces of humanity—the masks and the real faces—because he himself was a deeply divided soul, a person who lived in the stifling gap in between the two.

Maybe it's the fact the most of the arts here are produced by world-weary and sophisticated older people and then consumed by younger people who not only consume art but study it for clues on how to be cool, hip - and keep in mind that, for kids and younger people, to be hip and cool is the same as to be admired and accepted and included and so Unalone. Forget so-called peer-pressure. It's more like peer-hunger. No? We enter a spiritual puberty where we snap to the fact that the great transcendant horror is loneliness, excluded encagement in the self. Once we've hit this age, we will now give or take anything, wear any mask, to fit, be part-of, not be Alone, we young. The U.S. arts are our guide to inclusion. A how-to. We are shown how to fashion masks of ennui and jaded irony at a young age where the face is fictile enough to assume the shape of whatever it wears. And then it's stuck there, the weary cynicism that saves us from gooey sentiment and unsophisticated naivete.

Stop wearing that mask that is trying to be a match for everybody, and realise that you have to have more of a 1s and 10s model. A 1s and 10s model means that if you want to be a 10 for somebody you have to risk being a 1 for somebody else. [...] You wanna express who you really are.

A label is a mask life wears. We put labels on life all the time. "Right," "wrong," "success," "failure," "lucky," "unlucky," may be as limiting a way of seeing things as "diabetic," "epileptic," "manic-depressive," or even "invalid." Labeling sets up an expectation of life that is often so compelling we can no longer see things as they really are. This expectation often gives us a false sense of familiarity toward something that is really new and unprecedented. We are in relationship with our expectations and not with life itself.

Who wears masks?’ ‘Bank robbers?’ ‘No.’ ‘Really ugly people?’ ‘No.’ ‘Halloween? People wear masks at Halloween.’ ‘Yes! They do!’ He flung his arms wide in delight. ‘So that’s important?’ ‘Not even a little bit. But it’s true.

This life is complex that we rarely get to be the people we are truly meant to be. Instead, we wear masks and put up walls to keep from dealing with the fear of rejection, the feeling of regret, the very idea that someone may not love us for who we are deep in our core, that they might not understand the things that drive us,

Some will wear masks their entire life because they care about what other people think, while others remove the mask to be who they truly are. The difference between the two is not the ability to trust others, but to trust in God.

I love Halloween because all the time, everyone wears masks. But one night a year, they do it openly. The dark and forbidden things they wish to be but deny themselves, on Halloween they don’t. On Halloween, they embrace it, all of it. The hidden parts of the world are exposed, if only for one night. And those things that are truly dark are a little less alone.

In our society most of us wear protective masks (psychological ones) of various kinds, and for various reasons. Very often, the end result is that the mask grows to us, displacing our original characters with our assumed characters.

This life is so complex that we rarely get to be the people we are truly meant to be. Instead, we wear masks and put up walls to keep from dealing with the fear of rejection, the feeling of regret, the very idea that someone may not love us for who we are deep in our core, that they might not understand the things that drive us. I want to study the realness of life, not the gloss. There is beauty everywhere; even in the dark, there is light, and that is the rarest kind of all.

What we want is for everyone to just wear a mask. But then there are people who say that requiring a mask is a gross infringement of their bodily rights. I don’t know how to make it any more clear: you don’t have any bodily rights when you’re dead.

She can wear a veil, an eye mask, even a potato sack over her head - it doesn't matter. True beauty never fades; it radiates the kind of glow, that makes you turn your head and look, same way you unconsciously look for the stars, when the night is dark.

It is a very strange world! You don’t know people’s real lives; all that you know are their masks. You see them in the churches, you see them in the clubs, in the hotels, in the dancing halls, and it seems everybody is rejoicing, everybody is living a heavenly life, except you—of course, because you know how miserable you are within. And the same is the case with everybody else! They are all wearing masks, deceiving everybody, but how can you deceive yourself? You know that the mask is not your original face. But

It's of some interest that the lively arts of the millennial U.S.A. treat anhedonia and internal emptiness as hip and cool. It's maybe the vestiges of the Romantic glorification of Weltschmerz, which means world-weariness or hip ennui. Maybe it's the fact that most of the arts here are produced by world-weary and sophisticated older people and then consumed by younger people who not only consume art but study it for clues on how to be cool, hip—and keep in mind that, for kids and younger people, to be hip and cool is the same as to be admired and accepted and included and so Unalone. Forget so-called peer-pressure. It's more like peer-hunger. No? We enter a spiritual puberty where we snap to the fact that the great transcendent horror is loneliness, excluded encagement in the self. Once we’ve hit this age, we will now give or take anything, wear any mask, to fit, to be part-of, not be Alone, we young. The U.S. arts are our guide to inclusion. A how-to. We are shown how to fashion masks of ennui and jaded irony at a young age where the face is fictile enough to assume the shape of whatever it wears. And then it’s stuck there, the weary cynicism that saves us from gooey sentiment and unsophisticated naïveté. Sentiment equals naïveté on this continent.

New places and new roles forced me into acute awareness of how others were responding to me. When a human is being himself, flowing with his inner nature, wearing his natural appropriate masks, integrated with his environment, he is normally unaware of subtleties in another's behavior. Only if the other person breaks a conventional pattern is awareness stimulated. However, breaking my established patterns was threatening to my deeply ingrained selves and pricked me to a lvel of consciousness which is unusual, unusual since the whole instinct of human behavior is to find environments congenial to the relaxation of consciousness. By creating problems for myself I created thought.

You ever see a man who doesn’t know he’s unhappy, Leopard? Look for it in the scars on his woman’s face. Or in the excellence of his woodcraft and iron making, or in the masks he makes to wear himself because he forbids the world to see his own face. I am not happy, Leopard. But I am not unhappy that I know.

I once asked the servants why none of them had blue eyes like my aunts. They replied that only the ladies could afford to buy the blue glass cups in which they kept their eyes at night to make them more blue and beautiful, and furthermore, if we went on asking silly questions, the rats that steal the faces of inquisitive children in order to wear them as masks would come to take us to live in the twilit world between the ceiling and the roof where no one ever dared to go.

The philosophies of men surround us. The face of sin today often wears the mask of tolerance. Do not be deceived; behind that facade is heartache, unhappiness, and pain. You know what is right and what is wrong, and no disguise, however appealing, can change that. Be the one to make a stand for right, even if you stand alone. Have the moral courage to be a light for others to follow.

The use of the word person in every European language to signify a human individual is unintentionally appropriate; persona really means a player’s mask, and it is quite certain that no one shows himself as he is, but that each wears a mask and plays a role. In general, the whole of social life is a continual comedy, which the worthy find insipid, whilst the stupid delight in it greatly.

I shall ask into my shell only those friends with whom I can be completely honest. I find I am shedding hypocrisy in human relationships. What a rest that will be! The most exhausting thing in life, I have discovered, is being insincere. That is why so much of social life is exhausting; one is wearing a mask. I have shed my mask.

Like a child at the cinema, we get caught up in the illusion. From this comes all of our vanity, ambition, and insecurity. We fall in love with the illusions we have created and develop excessive pride in our appearance, our possessions, and our accomplishments. It’s like wearing a mask and proudly thinking that the mask is really you.

What sets one Southern town apart from another, or from a Northern town or hamlet, or city high-rise? The answer must be the experience shared between the unknowing majority (it) and the knowing minority (you). All of childhood's unanswered questions must finally be passed back to the town and answered there. Heroes and bogey men, values and dislikes, are first encountered and labeled in that early environment. In later years they change faces, places and maybe races, tactics, intensities and goals, but beneath those penetrable masks they wear forever the stocking-capped faces of childhood.

never believed in demons or monsters lurking under my bed. But lately I’ve started to wonder if evil hasn’t in fact infiltrated this world, slithering streets and sidewalks, wearing what- ever disguise suits its immediate purpose. When a choirboy is molested, is it by the devil in a priest costume? Or does Satan play a more clever game to get what he wants? To win the contest, accomplish his goals, might the prince of hatred mask himself as love?

Steve Jobs chafed at not being in control, and he sometimes hallucinated or became angry. Even when he was barely conscious, his strong personality came through. At one point the pulmonologist tried to put a mask over his face when he was deeply sedated. Jobs ripped it off and mumbled that he hated the design and refused to wear it. Though barely able to speak, he ordered them to bring five different options for the mask and he would pick a design he liked.

Poem - I meet your eyes. You don't even see me. You hardly respond when I whisper hello. Could be my soul mate, two kindred spirits. Maybe we're not. I guess we'll never know. My own mother, you carried me in you. Now you see nothing but what I wear. People ask you how I am doing. You smile and nod. Don't let it end there. Put me underneath God's sky and know me. Don't just see me with your eyes. Take away this mask of flesh and bone and see me for my soul, alone.

My friend, I am not what I seem. Seeming is but a garment I wear-a care-woven garment that protects me from thy questionings and thee from my negligence. The “I” in me, my friend, dwells in the house of silence, and therein it shall remain for ever more, unperceived, unapproachable. I would not have thee believe in what I say nor trust in what I do-for my words are naught but thy own thoughts in sound and my deeds thy own hopes in action. When thou sayest, “The wind bloweth eastward,” I say, “Aye it doth blow eastward”; for I would not have thee know that my mind doth not dwell upon the wind but upon the sea. Thou canst not understand my seafaring thoughts, nor would I have thee understand. I would be at sea alone. When it is day with thee, my friend, it is night with me; yet even then I speak of the noontide that dances upon the hills and of the purple shadow that steals its way across the valley; for thou canst not hear the songs of my darkness nor see my wings beating against the stars-and I fain would not have thee hear or see. I would be with night alone. When thou ascendest to thy Heaven I descend to my Hell-even then thou callest to me across the unbridgeable gulf, “My companion, my comrade,” and I call back to thee, “My comrade, my companion”-for I would not have thee see my Hell. The flame would burn thy eyesight and the smoke would crowd thy nostrils. And I love my Hell too well to have thee visit it. I would be in Hell alone. Thou lovest Truth and Beauty and Righteousness; and I for thy sake say it is well and seemly to love these things. But in my heart I laughed at thy love. Yet I would not have thee see my laughter. I would laugh alone. My friend, thou art good and cautious and wise; nay, thou art perfect-and I, too, speak with thee wisely and cautiously. And yet I am mad. But I mask my madness. I would be mad alone. My friend, thou art not my friend, but how shall I make thee understand? My path is not thy path, yet together we walk, hand in hand.

Both the veil and makeup are often seen as voluntary behaviours by women, taken up by choice and to express agency. But in both cases there is considerable evidence of the pressures arising from male dominance that cause the behaviours. For instance, the historian of commerce Kathy Peiss suggests that the beauty products industry took off in the USA in the 1920s/1930s because this was a time when women were entering the public world of offices and other workplaces (Peiss, 1998). She sees women as having made themselves up as a sign of their new freedom. But there is another explanation. Feminist commentators on the readoption of the veil by women in Muslim countries in the late twentieth century have suggested that women feel safer and freer to engage in occupations and movement in the public world through covering up (Abu-Odeh, 1995). It could be that the wearing of makeup signifies that women have no automatic right to venture out in public in the west on equal grounds with men. Makeup, like the veil, ensures that they are masked and not having the effrontery to show themselves as the real and equal citizens that they should be in theory. Makeup and the veil may both reveal women’s lack of entitlement.

Leave your hair natural. Let your beard grow out. Leave the makeup in the bag. Wear comfortable clothes. Stop worrying so much about your looks and start looking around you. You have missed so much beauty trying to become beautiful. You have missed your own worth trying to become worthy. Let the mask break open. Let it lie on the floor. Let yourself be seen. Let yourself see.

In those first years the roads were peopled with refugees shrouded up in their clothing. Wearing masks and goggles, sitting in their rags by the side of the road like ruined aviators. Their barrows heaped with shoddy. Towing wagons or carts. Their eyes bright in their skulls. Creedless shells of men tottering down the causeways like migrants in a feverland. The frailty of everything revealed at last. Old and troubling issues resolved into nothingness and night. The last instance of a thing takes the class with it. Turns out the light and is gone. Look around you. Ever is a long time. But the boy knew what he knew. That ever is no time at all.

Hemingway never said any of this. It's all AI-generated bullshit. The hardest lesson I’ve had to learn as an adult is the relentless need to keep going, no matter how shattered I feel inside." This truth is both raw and universal. Life doesn’t pause when our hearts are heavy, our minds are fractured, or our spirits feel like they’re unraveling. It keeps moving—unrelenting, unapologetic—demanding that we move with it. There’s no time to stop, no pause for repair, no moment of stillness where we can gently piece ourselves back together. The world doesn’t wait, even when we need it to. What makes this even harder is that no one really prepares us for it. As children, we grow up on a steady diet of stories filled with happy endings, tales of redemption and triumph where everything always falls into place. But adulthood strips away those comforting narratives. Instead, it reveals a harsh truth: survival isn’t glamorous or inspiring most of the time. It’s wearing a mask of strength when you’re falling apart inside. It’s showing up when all you want is to retreat. It’s choosing to move forward, step by painful step, when your heart begs for rest. And yet, we endure. That’s the miracle of being human—we endure. Somewhere in the depths of our pain, we find reserves of strength we didn’t know we possessed. We learn to hold space for ourselves, to be the comfort we crave, to whisper words of hope when no one else does. Over time, we realize that resilience isn’t loud or grandiose; it’s a quiet defiance, a refusal to let life’s weight crush us entirely. Yes, it’s messy. Yes, it’s exhausting. And yes, there are days when it feels almost impossible to take another step. But even then, we move forward. Each tiny step is proof of our resilience, a reminder that even in our darkest moments, we’re still fighting, still refusing to give up. That fight—that courage—is the quiet miracle of survival.

He had hundreds of monsters inside him wearing his face as a mask. Screaming and trying to tear him apart and take his place. He always fought furiously to hold them back and it created an unending chaos inside him. Eventually, in the end, he lost all his strength and battles. He was dragged down into the abyss. He cried and fought hard to find his way back home. To get out from there again and to be himself. But among all these masks, the real he was lost forever. He never made it back again, and he was not himself anymore.

I suddenly see the world as no longer viable: you are out there burning the crops with some new sublimate This morning you left the bed we still share and went out to spread impotence upon the world I hate you. I hate the mask you wear, your eyes assuming a depth they do not possess, drawing me into the grotto of your skull the landscape of bone I hate your words they make you think of fake revolutionary bills crisp imitation parchment they sell at battlefields. Last night, in this room, weeping I asked you: what are you feeling? do you feel anything? Now in the torsion of your body as you defoliate the fields we lived from I have your answer.

The life that I touch for good or ill will touch another life, and that in turn another, until who knows where the trembling stops or in what far place and time my touch will be felt. Our lives are linked together. No man is an island. But there is another truth, the sister of this one, and it is that every man is an island. It is a truth that often the tolling of a silence reveals even more vividly than the tolling of a bell. We sit in silence with one another, each of us more or less reluctant to speak, for fear that if he does, he may sound life a fool. And beneath that there is of course the deeper fear, which is really a fear of the self rather than of the other, that maybe truth of it is that indeed he is a fool. The fear that the self that he reveals by speaking may be a self that the others will reject just as in a way he has himself rejected it. So either we do not speak, or we speak not to reveal who we are but to conceal who we are, because words can be used either way of course. Instead of showing ourselves as we truly are, we show ourselves as we believe others want us to be. We wear masks, and with practice we do it better and better, and they serve us well –except that it gets very lonely inside the mask, because inside the mask that each of us wears there is a person who both longs to be known and fears to be known. In this sense every man is an island separated from every other man by fathoms of distrust and duplicity. Part of what it means to be is to be you and not me, between us the sea that we can never entirely cross even when we would. “My brethren are wholly estranged from me,” Job cries out. “I have become an alien in their eyes.” The paradox is that part of what binds us closest together as human beings and makes it true that no man is an island is the knowledge that in another way every man is an island. Because to know this is to know that not only deep in you is there a self that longs about all to be known and accepted, but that there is also such a self in me, in everyone else the world over. So when we meet as strangers, when even friends look like strangers, it is good to remember that we need each other greatly you and I, more than much of the time we dare to imagine, more than more of the time we dare to admit. Island calls to island across the silence, and once, in trust, the real words come, a bridge is built and love is done –not sentimental, emotional love, but love that is pontifex, bridge-builder. Love that speak the holy and healing word which is: God be with you, stranger who are no stranger. I wish you well. The islands become an archipelago, a continent, become a kingdom whose name is the Kingdom of God.

My body is a political battlefield. It is a place of war, of death and suffering, of triumph and victory, of damage and repair, of blood and tears and sweat. It is a place where memories go to find purpose for their existence. It is a place where humans cast all inhibitions aside to discover what exists at their very core. It is a place of growth wearing a mask of destruction. It is a challenge, not for the faint of heart, beckoning us to face it with eyes wide open. The only war is within. When you are ready to fight it, the field awaits.

The individuals inside are frequently fighting that their individual voices be heard, while the walls of the place, which are the mask, and the perception, are reluctant to give over to the voices of the individuals. Those in the margins are always trying to get to the center, and those at the center, frequently in the name of tradition, are trying to keep the margins at a distance. Part of the identity of a place is the tension between those in the margins, and those in the center, and they all live behind the walls which wear the tradition.

It was called ‘We Wear the Mask’, by Paul Laurence Dunbar. I transcribed the first stanza and then started jotting down my reaction to it. We wear the mask that grins and lies, It hides our cheeks and shades our eyes,— This debt we pay to human guile; With torn and bleeding hearts we smile, And mouth with myriad subtleties. I used to wear masks so subtle I barely noticed them. A compliment to my mother after a dismal meal, a smile at my best friend when she sang out of tune, a forced laugh at my uncle’s bad jokes. I wore small masks that came and went, like fleeting expressions. I am stuck inside the mask I wear now. I want to rip it off. I want to show my scars to the world, to unveil the ugliness that breathes inside me. I want to be unashamed. I want to be unafraid. But every day the mask gets tighter, and I suffocate a little more. I stopped writing.

To the warriors of light, there is no such thing as impossible love. They don’t allow themselves to be intimidated by silence, or by rejection. They know that – behind the icy mask people wear – there is a heart of fire. That is why the warriors risk more than others. They tirelessly seek love – even if this means hearing, many times over, the word ‘no’, returning home defeated, feeling rejected in body and soul. Warriors don’t allow themselves to be discouraged. Without love, live has no meaning.

Deception, flattering, lying, deluding, talking behind the back, putting up a false front, living in borrowed splendor, wearing a mask, hiding behind convention, playing a role for others and for oneself – in short, a continuous fluttering around the solitary flame of vanity – is so much the rule and the law among men that there is almost nothing which is less comprehensible than how an honest and pure drive for truth could have arisen among them.

I want to be oblivious to the hurt written on her face. I want to be selfish and young and normal. M would be that way. She would need space to grieve. She would rebel because her parents were simply uncool, not because one was wearing a horrifying happy mask and the other was a living ghost. She’d be distant because she was preoccupied with boys or school, not because she’s tired from hunting down the Histories of the dead, or distracted by her new hotel-turned-apartment, where the walls are filled with crimes.

In the future, Martin will recall this night as the first time -- and one of the only times -- he ever saw Germans crying in public, not at the news of a dead loved one or at the sight of their bombed home, and not in physical pain, but from spontaneous emotion. For this brief time, they were not hiding from one another, wearing their masks of cold and practical detachment. The music stirred the hardened sediment of their memory, chafed against layers of horror and shame, and offered a rare solace in their shared anger, grief and guilt.

On Saturday afternoons I used to go for a walk with my mother. From the dusk of the hallway, we stepped at once into the brightness of the day. The passerby, bathed in melting gold, had their eyes half-closed against the glare, as if they were drenched with honey, upper lips were drawn back, exposing the teeth. Everyone in this golden day wore that grimace of heat–as if the sun had forced his worshippers to wear identical masks of gold. The old and the young, women and children, greeted each other with these masks, painted on their faces with thick gold paint; they smiled at each other's pagan faces–the barbaric smiles of Bacchus.

Healthy people understand that others have the capacity to choose to end relationships and it serves as motivation for them to learn to relate in healthy and loving ways. However, when we are driven by shame, we don't just fear losing a relationship, but we live in terror that if we let anyone really get to know us, we would never be desired, pursued, or loved. In us, that fear can be worked out in the development of unhealthy denial, workaholism, perfectionism, chameleon-type behavior, and sadly, even revictimization... When we live in denial or present a false self out of fear... we will do anything to be accepted by people... When we begin to tell the truth about what happened to us we also begin the process of turning about from this type of idolatry... When we begin to tear away our layers of illegitimate shame... When our own vision is not distorted by our shame we can discern what was our responsibility and what wasn't.

Even when in the deepest distress, the actor ultimately cannot cease to think of the impression he and the whole scenic effect is making, even for example at the burial of his own child; he will weep over his own distress and the ways in which it expresses itself, as his own audience. The hypocrite who always plays one and the same role finally ceases to be a hypocrite; for example priests, who as young men are usually conscious or unconscious hypocrites, finally become natural and then really are priests without any affectation; or if the father fails to get that far then perhaps the son does so, employing his father's start and inheriting his habits. If someone obstinately and for a long time wants to appear something it is int he end hard for him to be anything else. The profession of almost every man, even that of the artist, begins with hypocrisy, with an imitation from without, with a copying of what is most effective. He who is always wearing a mask of a friendly countenance must finally acquire a power over benevolent moods without which the impression of friendliness cannot be obtained - and finally these acquire power over him, he is benevolent.

Become who you are by learning who you are.” What he meant is the following: You are born with a particular makeup and tendencies that mark you as a piece of fate. It is who you are to the core. Some people never become who they are; they stop trusting in themselves; they conform to the tastes of others, and they end up wearing a mask that hides their true nature. If you allow yourself to learn who you really are by paying attention to that voice and force within you, then you can become what you were fated to become—an individual, a Master.

Is the mask magic?" he demanded with sudden, passionate interest. "Yes." I bowed my head, so that our eyes no longer met. "I made it magic to keep you safe. The mask is your friend, Erik. As long as you wear it, no mirror can ever show you the face again." He was silent then and when I showed him the new mask he accepted it without question and put it on hastily with his clumsy, bandaged fingers. But when I stood up to go, he reacted with panic and clutched at my grown. "Don't go! Don't leave me here in the dark." "You are not in the dark," I said patiently. "Look, I have left the candle ..." But I knew, as I looked at him, that it would have made no difference if I had left him fifty candles. The darkness he feared was in his own mind and there was no light in the universe powerful enough to take that darkness from him. With a sigh of resignation I sat back on the bed and began to sing softly; and before I had finished the first verse, he was asleep. The bandages on his hands and wrists showed white and eerie in the candle-light, as I eased my skirts from his grasp. I knew that Marie was right. Physically and mentally, I had scarred him for life.

The gym exposes deficiencies in our bodies’ strength and stamina—and appearance. You can wear all kinds of daytime clothes that hide or minimize aspects of your body that you would like to be less visible to the eye. But in the gym, you cannot hide them. There you and your coach (and unfortunately everyone around you) can see where you bulge where you shouldn’t. It’s an incentive to get to work. And so this metaphor tells us that when life is going along just fine, the flaws in our character can be masked and hidden from others and from ourselves. But when troubles and difficulties hit, we are suddenly in “God’s gymnasium”—we are exposed. Our inner anxieties, our hair-trigger temper, our unrealistic regard of our own talents, our tendency to lie or shade the truth, our lack of self-discipline—all of these things come out.

Glossa Time goes by, time comes along, All is old and all is new; What is right and what is wrong, You must think and ask of you; Have no hope and have no fear, Waves that rise can never hold; If they urge or if they cheer, You remain aloof and cold. To our sight a lot will glisten, Many sounds will reach our ear; Who could take the time to listen And remember all we hear? Keep aside from all that patter, Seek yourself, far from the throng When with loud and idle clatter Time goes by, time comes along. Nor forget the tongue of reason Or its even scales depress When the moment, changing season, Wears the mask of happiness - It is born of reason's slumber And may last a wink as true: For the one who knows its number All is old and all is new. Be as to a play, spectator, As the world unfolds before: You will know the heart of matter Should they act two parts or four; When they cry or tear asunder From your seat enjoy along And you'll learn from art to wonder What is right and what is wrong. Past and future, ever blending, Are the twin sides of same page: New start will begin with ending When you know to learn from age; All that was or be tomorrow We have in the present, too; But what's vain and futile sorrow You must think and ask of you; For the living cannot sever From the means we've always had: Now, as years ago, and ever, Men are happy or are sad: Other masks, same play repeated; Diff'rent tongues, same words to hear; Of your dreams so often cheated, Have no hope and have no fear. Hope not when the villains cluster By success and glory drawn: Fools with perfect lack of luster Will outshine Hyperion! Fear it not, they'll push each other To reach higher in the fold, Do not side with them as brother, Waves that rise can never hold. Sounds of siren songs call steady Toward golden nets, astray; Life attracts you into eddies To change actors in the play; Steal aside from crowd and bustle, Do not look, seem not to hear From your path, away from hustle, If they urge or if they cheer; If they reach for you, go faster, Hold your tongue when slanders yell; Your advice they cannot master, Don't you know their measure well? Let them talk and let them chatter, Let all go past, young and old; Unattached to man or matter, You remain aloof and cold. You remain aloof and cold If they urge or if they cheer; Waves that rise can never hold, Have no hope and have no fear; You must think and ask of you What is right and what is wrong; All is old and all is new, Time goes by, time comes along.

Learning to wear a mask (that word already embedded in the term "masculinity") is the first lesson in patriarchal masculinity a boy learns. He learns that his core feelings cannot be expressed if they do not conform to the acceptable behaviors sexism defines as male. Asked to give up the true self in order to realize the patriarchal ideal, boys learn self-betrayal early and are rewarded for these acts of soul murder. Therapist John Bradshaw explains the splitting that takes place when a child learns that the way he organically feels is not acceptable. In response to this lesson that his true self is inappropriate and wrong, the boy learns to don a false self. Bradshaw explains, "The feeling that I have done something wrong, that I really don't know what it is, that there's something terribly wrong with my very being, leads to a sense of utter hopelessness. This hopelessness is the deepest cut of the mystified state. It means there is no possibility for me as I am; there is no way I can matter or be worthy of anyone's love as long as I remain myself. I must find a way to be someone else - someone who is lovable. Someone who is not me.

It’s of some interest that the lively arts of the millennial U.S.A. treat anhedonia and internal emptiness as hip and cool. It’s maybe the vestiges of the Romantic glorification of Weltschmerz, which means world-weariness or hip ennui. Maybe it’s the fact that most of the arts here are produced by world-weary and sophisticated older people and then consumed by younger people who not only consume art but study it for clues on how to be cool, hip — and keep in mind that, for kids and younger people, to be hip and cool is the same as to be admired and accepted and included and so Unalone. Forget so-called peer-pressure. It’s more like peer-hunger. No? We enter a spiritual puberty where we snap to the fact that the great transcendent horror is loneliness, excluded encagement in the self. Once we’ve hit this age, we will now give or take anything, wear any mask, to fit, be part-of, not be Alone, we young. The U.S. arts are our guide to inclusion. A how-to. We are shown how to fashion masks of ennui and jaded irony at a young age where the face is fictile enough to assume the shape of whatever it wears. And then it’s stuck there, the weary cynicism that saves us from gooey sentiment and unsophisticated naïveté. Sentiment equals naïveté on this continent (at least since the Reconfiguration). One of the things sophisticated viewers have always liked about J. O. Incandenza’s The American Century as Seen Through a Brick is its unsubtle thesis that naïveté is the last true terrible sin in the theology of millennial America. And since sin is the sort of thing that can be talked about only figuratively, it’s natural that Himself’s dark little cartridge was mostly about a myth, viz. that queerly persistent U.S. myth that cynicism and naïveté are mutually exclusive. Hal, who’s empty but not dumb, theorizes privately that what passes for hip cynical transcendence of sentiment is really some kind of fear of being really human, since to be really human (at least as he conceptualizes it) is probably to be unavoidably sentimental and naïve and goo-prone and generally pathetic, is to be in some basic interior way forever infantile, some sort of not-quite-right-looking infant dragging itself anaclitically around the map, with big wet eyes and froggy-soft skin, huge skull, gooey drool. One of the really American things about Hal, probably, is the way he despises what it is he’s really lonely for: this hideous internal self, incontinent of sentiment and need, that pules and writhes just under the hip empty mask, anhedonia. 281 281 - This had been one of Hal’s deepest and most pregnant abstractions, one he’d come up with once while getting secretly high in the Pump Room. That we’re all lonely for something we don’t know we’re lonely for. How else to explain the curious feeling that he goes around feeling like he misses somebody he’s never even met? Without the universalizing abstraction, the feeling would make no sense.

AS LONG AS we follow a spiritual approach promising salvation, miracles, liberation, then we are bound by the “golden chain of spirituality.” Such a chain might be beautiful to wear, with its inlaid jewels and intricate carvings, but nevertheless, it imprisons us. People think they can wear the golden chain for decoration without being imprisoned by it, but they are deceiving themselves. As long as one’s approach to spirituality is based upon enriching ego, then it is spiritual materialism, a suicidal process rather than a creative one. All the promises we have heard are pure seduction. We expect the teachings to solve all our problems; we expect to be provided with magical means to deal with our depressions, our aggressions, our sexual hangups. But to our surprise we begin to realize that this is not going to happen. It is very disappointing to realize that we must work on ourselves and our suffering rather than depend upon a savior or the magical power of yogic techniques. It is disappointing to realize that we have to give up our expectations rather than build on the basis of our preconceptions. We must allow ourselves to be disappointed, which means the surrendering of me-ness, my achievement. We would like to watch ourselves attain enlightenment, watch our disciples celebrating, worshiping, throwing flowers at us, with miracles and earthquakes occurring and gods and angels singing and so forth. This never happens. The attainment of enlightenment from ego’s point of view is extreme death, the death of self, the death of me and mine, the death of the watcher. It is the ultimate and final disappointment. Treading the spiritual path is painful. It is a constant unmasking, peeling off of layer after layer of masks. It involves insult after insult.

The biggest mistake people make when trying to be authentic is just that: they try. They see these role models of what an "authentic" person is supposed to look like or act like, and they try to emulate that. Authenticity isn't about what things appear to be. It's about allowing things to be what they are. Authenticity is about getting away from hiding, from wearing a mask, from always asking, "How should I act? What should I say? What will people think?" That includes asking, "How should an authentic person act? What would a genuine person say?" Being authentic isn't about making yourself a certain way. It's not even about finding out what you "really" enjoy as opposed to what other people enjoy, or who you "really" are as opposed to who other people are. Authenticity is allowing your likes, dislikes, personality, appearance, hobbies, and beliefs to be fluid, to change, to evolve as you learn, grow, and experience the world. At its core, authenticity is the practice of surrendering the tiresome task of keeping up appearances and taking up of the lifetime work of allowing what is already within you to come out while you remove as many internal and external obstacles as possible. And who knows what will spill out of you if you just allow it to? Who knows what is within you awaiting recognition, awaiting permission to show itself to the world? Even you don’t know—until you try. Or, rather, until you stop trying. Until you become curious.

Thus pride wears the mask of loftiness of spirit, although You alone, O God, are high over all. Ambition seeks honour and glory, although You alone are to be honoured before all and glorious forever. By cruelty the great seek to be feared, yet who is to be feared but God alone: from His power what can be wrested away, or when or where or how or by whom? The caresses by which the lustful seduce are a seeking for love: but nothing is more caressing than Your charity, nor is anything more healthfully loved than Your supremely lovely, supremely luminous Truth. Curiosity may be regarded as a desire for knowledge, whereas You supremely know all things. Ignorance and sheer stupidity hide under the names of simplicity and innocence: yet no being has simplicity like to Yours: and none is more innocent than You, for it is their own deeds that harm the wicked. Sloth pretends that it wants quietude: but what sure rest is there save the Lord? Luxuriousness would be called abundance and completeness; but You are the fullness and inexhaustible abundance of incorruptible delight. Wastefulness is a parody of generosity: but You are the infinitely generous giver of all good. Avarice wants to possess overmuch: but You possess all. Enviousness claims that it strives to excel: but what can excel before You? Anger clamours for just vengeance: but whose vengeance is so just as Yours? Fear is the recoil from a new and sudden threat to something one holds dear, and a cautious regard for one’s own safety: but nothing new or sudden can happen to You, nothing can threaten Your hold upon things loved, and where is safety secure save in You? Grief pines at the loss of things in which desire delighted: for it wills to be like to You from whom nothing can be taken away.

Money was the blood of civilized society, its currents running through everything and everyone. Where money was insufficient, things withered. People starved, sickened and died, constructions eroded, even ideas perished. Where funds were plentiful, the same things blossomed with new life. And money was, in the end, little more than the product of collective imagination. A slip of paper or a coin had no value beyond that of the material it was fashioned of. It only took on a life of its own when people as a whole collectively agreed that certain papers and coins were worth something. Only then did people bleed and die for it. For a fantasy, a faith given form in hard, concrete numbers. Then again, much of society was built on a series of shared delusions. Clothing was little more than scraps of particular materials with particular geometries, but people clung to the idea of fashion. Style. Good and bad fashion was another belief system, one which all members of a culture were indoctrinated into. Breaking certain conventions didn’t only challenge the aesthetic sensibilities of others, but it challenged their sense of self. It reminded them, subconsciously, of the very pretendings they clung to. Only those with power could stand against society’s tides, flaunt the collective’s ‘safe’ aesthetic. When one had enough power, others couldn’t rise against them and safely say something calculated to reduce their own dissonance and remind the offending party of the unspoken rules. When one had enough power to take a life with a twitch of a finger, a thought, they earned the right to wear skin-tight clothing and call themselves Hero, or Legend. To wear a mask and name themselves something inane like ‘the Cockatoo’ and still take themselves seriously.

At that distance, peacefully eating, the elephant looked no more dangerous than a cow. I thought then and I think now that his attack of “must” was already passing off; in which case he would merely wander harmlessly about until the mahout came back and caught him. Moreover, I did not in the least want to shoot him. I decided that I would watch him for a little while to make sure that he did not turn savage again, and then go home. But at that moment I glanced round at the crowd that had followed me. It was an immense crowd, two thousand at the least and growing every minute. It blocked the road for a long distance on either side. I looked at the sea of yellow faces above the garish clothes-faces all happy and excited over this bit of fun, all certain that the elephant was going to be shot. They were watching me as they would watch a conjurer about to perform a trick. They did not like me, but with the magical rifle in my hands I was momentarily worth watching. And suddenly I realized that I should have to shoot the elephant after all. The people expected it of me and I had got to do it; I could feel their two thousand wills pressing me forward, irresistibly. And it was at this moment, as I stood there with the rifle in my hands, that I first grasped the hollowness, the futility of the white man’s dominion in the East. Here was I, the white man with his gun, standing in front of the unarmed native crowd — seemingly the leading actor of the piece; but in reality I was only an absurd puppet pushed to and fro by the will of those yellow faces behind. I perceived in this moment that when the white man turns tyrant it is his own freedom that he destroys. He becomes a sort of hollow, posing dummy, the conventionalized figure of a sahib. For it is the condition of his rule that he shall spend his life in trying to impress the “natives,” and so in every crisis he has got to do what the “natives” expect of him. He wears a mask, and his face grows to fit it. I had got to shoot the elephant. I had committed myself to doing it when I sent for the rifle. A sahib has got to act like a sahib; he has got to appear resolute, to know his own mind and do definite things. To come all that way, rifle in hand, with two thousand people marching at my heels, and then to trail feebly away, having done nothing — no, that was impossible. The crowd would laugh at me. And my whole life, every white man’s life in the East, was one long struggle not to be laughed at.

Over the years I have read many, many books about the future, my ‘we’re all doomed’ books, as Connie liked to call them. ‘All the books you read are either about how grim the past was or how gruesome the future will be. It might not be that way, Douglas. Things might turn out all right.’ But these were well-researched, plausible studies, their conclusions highly persuasive, and I could become quite voluble on the subject. Take, for instance, the fate of the middle-class, into which Albie and I were born and to which Connie now belongs, albeit with some protest. In book after book I read that the middle-class are doomed. Globalisation and technology have already cut a swathe through previously secure professions, and 3D printing technology will soon wipe out the last of the manufacturing industries. The internet won’t replace those jobs, and what place for the middle-classes if twelve people can run a giant corporation? I’m no communist firebrand, but even the most rabid free-marketeer would concede that market-forces capitalism, instead of spreading wealth and security throughout the population, has grotesquely magnified the gulf between rich and poor, forcing a global workforce into dangerous, unregulated, insecure low-paid labour while rewarding only a tiny elite of businessmen and technocrats. So-called ‘secure’ professions seem less and less so; first it was the miners and the ship- and steel-workers, soon it will be the bank clerks, the librarians, the teachers, the shop-owners, the supermarket check-out staff. The scientists might survive if it’s the right type of science, but where do all the taxi-drivers in the world go when the taxis drive themselves? How do they feed their children or heat their homes and what happens when frustration turns to anger? Throw in terrorism, the seemingly insoluble problem of religious fundamentalism, the rise of the extreme right-wing, under-employed youth and the under-pensioned elderly, fragile and corrupt banking systems, the inadequacy of the health and care systems to cope with vast numbers of the sick and old, the environmental repercussions of unprecedented factory-farming, the battle for finite resources of food, water, gas and oil, the changing course of the Gulf Stream, destruction of the biosphere and the statistical probability of a global pandemic, and there really is no reason why anyone should sleep soundly ever again. By the time Albie is my age I will be long gone, or, best-case scenario, barricaded into my living module with enough rations to see out my days. But outside, I imagine vast, unregulated factories where workers count themselves lucky to toil through eighteen-hour days for less than a living wage before pulling on their gas masks to fight their way through the unemployed masses who are bartering with the mutated chickens and old tin-cans that they use for currency, those lucky workers returning to tiny, overcrowded shacks in a vast megalopolis where a tree is never seen, the air is thick with police drones, where car-bomb explosions, typhoons and freak hailstorms are so commonplace as to barely be remarked upon. Meanwhile, in literally gilded towers miles above the carcinogenic smog, the privileged 1 per cent of businessmen, celebrities and entrepreneurs look down through bullet-proof windows, accept cocktails in strange glasses from the robot waiters hovering nearby and laugh their tinkling laughs and somewhere, down there in that hellish, stewing mess of violence, poverty and desperation, is my son, Albie Petersen, a wandering minstrel with his guitar and his keen interest in photography, still refusing to wear a decent coat.

I don’t like stories. I like moments. I like night better than day, moon better than sun, and here-and-now better than any sometime-later. I also like birds, mushrooms, the blues, peacock feathers, black cats, blue-eyed people, heraldry, astrology, criminal stories with lots of blood, and ancient epic poems where human heads can hold conversations with former friends and generally have a great time for years after they’ve been cut off. I like good food and good drink, sitting in a hot bath and lounging in a snowbank, wearing everything I own at once, and having everything I need close at hand. I like speed and that special ache in the pit of the stomach when you accelerate to the point of no return. I like to frighten and to be frightened, to amuse and to confound. I like writing on the walls so that no one can guess who did it, and drawing so that no one can guess what it is. I like doing my writing using a ladder or not using it, with a spray can or squeezing the paint from a tube. I like painting with a brush, with a sponge, and with my fingers. I like drawing the outline first and then filling it in completely, so that there’s no empty space left. I like letters as big as myself, but I like very small ones as well. I like directing those who read them here and there by means of arrows, to other places where I also wrote something, but I also like to leave false trails and false signs. I like to tell fortunes with runes, bones, beans, lentils, and I Ching. Hot climates I like in the books and movies; in real life, rain and wind. Generally rain is what I like most of all. Spring rain, summer rain, autumn rain. Any rain, anytime. I like rereading things I’ve read a hundred times over. I like the sound of the harmonica, provided I’m the one playing it. I like lots of pockets, and clothes so worn that they become a kind of second skin instead of something that can be taken off. I like guardian amulets, but specific ones, so that each is responsible for something separate, not the all-inclusive kind. I like drying nettles and garlic and then adding them to anything and everything. I like covering my fingers with rubber cement and then peeling it off in front of everybody. I like sunglasses. Masks, umbrellas, old carved furniture, copper basins, checkered tablecloths, walnut shells, walnuts themselves, wicker chairs, yellowed postcards, gramophones, beads, the faces on triceratopses, yellow dandelions that are orange in the middle, melting snowmen whose carrot noses have fallen off, secret passages, fire-evacuation-route placards; I like fretting when in line at the doctor’s office, and screaming all of a sudden so that everyone around feels bad, and putting my arm or leg on someone when asleep, and scratching mosquito bites, and predicting the weather, keeping small objects behind my ears, receiving letters, playing solitaire, smoking someone else’s cigarettes, and rummaging in old papers and photographs. I like finding something lost so long ago that I’ve forgotten why I needed it in the first place. I like being really loved and being everyone’s last hope, I like my own hands—they are beautiful, I like driving somewhere in the dark using a flashlight, and turning something into something completely different, gluing and attaching things to each other and then being amazed that it actually worked. I like preparing things both edible and not, mixing drinks, tastes, and scents, curing friends of the hiccups by scaring them. There’s an awful lot of stuff I like.