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The Plague
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On Palestine
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The Hobbit, or Th...
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Albert Camus
“For years I’ve wanted to live according to everyone else’s morals. I’ve forced myself to live like everyone else, to look like everyone else. I said what was necessary to join together, even when I felt separate. And after all of this, catastrophe came. Now I wander amid the debris, I am lawless, torn to pieces, alone and accepting to be so, resigned to my singularity and to my infirmities. And I must rebuild a truth–after having lived all my life in a sort of lie.”
Albert Camus, Notebooks 1951-1959

“Truth is like poetry.
And most people fucking hate poetry.”
Adam McKay, The Big Short: A Screenplay

Marcus Aurelius
“At dawn, when you have trouble getting out of bed, tell yourself: “I have to go to work — as a human being. What do I have to complain of, if I’m going to do what I was born for — the things I was brought into the world to do? Or is this what I was created for? To huddle under the blankets and stay warm?”

So you were born to feel “nice”? Instead of doing things and experiencing them? Don’t you see the plants, the birds, the ants and spiders and bees going about their individual tasks, putting the world in order, as best they can? And you’re not willing to do your job as a human being? Why aren’t you running to do what your nature demands?

You don’t love yourself enough. Or you’d love your nature too, and what it demands of you.”
Marcus Aurelius, Meditations

Terry Eagleton
“The Great Wall of China resembles the concept of heartache in that neither can peel a banana.”
Terry Eagleton, How to Read Literature

Terry Eagleton
“It is true that there are kinds of imagery which do not involve visualisation. We speak, for example, of aural or tactile imagery. Yet the word remains more deceptive than illuminating. For some eighteenth-century critics, imagery referred to the power of poetry to make us 'see' objects, to feel as if we were in their actual presence; but this implied, oddly, that the function of poetic language was to efface itself before what it represented. Language makes things vividly present to us, but to do so adequately it must cease to interpose its own ungainly bulk between us and them. So poetic language attains its pitch of perfection when it ceases to be language at all. At its peak, it transcends itself.

Images, on this theory, are representations so lucid that they cease to be representations at all, and instead merge with the real thing. Which means, logically speaking, that we are no longer dealing with poetry at all, which is nothing if not a verbal phenomenon. F. R. Leavis writes of the kind of verse which 'has such life and body that we hardly seem to be reading arrangements of words . . . The total effect is as if words as words withdrew themselves from the focus of our attention and we were directly aware of a tissue of feelings and perceptions.”
Terry Eagleton, How to Read a Poem

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