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The Abolition of Man
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The Ethics of Beauty
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progress:  On page 10. "Already living up to its reputation in the preface, but man was this book hard to get ahold of." Nov 15, 2025 12:20PM

 
Miracles
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George MacDonald
“As Curdie grew, he grew at this time faster in body than in mind—with the usual consequence, that he was getting rather stupid—one of the chief signs of which was that he believed less and less in things he had never seen. ... On his way to and from the mine he took less and less notice of bees and butterflies, moths and dragonflies, the flowers and the brooks and the clouds. He was gradually changing into a commonplace man.”
George MacDonald, The Princess and Curdie

“Knowledge is power, France is Bacon”
u/Lard_Baron

Aldo Leopold
“Out of some far recess of the sky a tinkling of little bells falls soft upon the listening land. Then again silence. Now comes a baying of some sweet-throated hound, soon the clamor of a responding back. Then a far clear blast of hunting horns, out of the sky into the fog.

High horns, low horns, silence, and finally a pandemonium of trumpets, rattles, croaks , and cries that almost shakes the bog with its nearness, but without yet disclosing whence it comes. At last a glint of sun reveals the approach of a great echelon of birds. On motionless wing they emerge from the lifting mists, sweep a final arc of sky, and settle in clangorous descending spirals to their feeding grounds. A new day has begun on the crane marsh.”
Aldo Leopold, A Sand County Almanac and Sketches Here and There

Ernest Becker
“But look at man, the impossible creature! Here nature seems to have thrown caution to the winds along with the programmed instincts. She created an animal who has no defense against full perception of the external world, an animal completely open to experience. Not only in front of his nose, in his umwelt, but in many other umwelten. He can relate not only to animals in his own species, but in some ways to all other species. He can contemplate not only what is edible for him, but everything that grows. He not only lives in this moment, but expands his inner self to yesterday, his curiosity to centuries ago, his fears to five billion years from now when the sun will cool, his hopes to an eternity from now. He lives not only on a tiny territory, nor even on an entire planet, but in a galaxy, in a universe, and in dimensions beyond visible universes. It is appalling, the burden that man bears, the experiential burden. As we saw in the last chapter, man can’t even take his own body for granted as can other animals. It is not just hind feet, a tail that he drags, that are just “there,” limbs to be; used and taken for granted or chewed off when caught in a trap and when they give pain and prevent movement. Man’s body is a problem to him that has to be explained. Not only his body is strange, but also its inner landscape, the memories and dreams. Man’s very insides—his self—are foreign to him. He doesn’t know who he is, why he was born, what he is doing on the planet, what he is supposed to do, what he can expect. His own existence is incomprehensible to him, a miracle just like the rest of creation, closer to him, right near his pounding heart, but for that reason all the more strange. Each thing is a problem, and man can shut out nothing. As Maslow has well said, “It is precisely the godlike in ourselves that we are ambivalent about, fascinated by and fearful of, motivated to and defensive against. This is one aspect of the basic human predicament, that we are simultaneously worms and gods.”
Ernest Becker, The Denial of Death

Keith Johnstone
“There are people who prefer to say ‘Yes’, and there are people who prefer to say ‘No’. Those who say ‘Yes’ are rewarded by the adventures they have, and those who say ‘No’ are rewarded by the safety they attain. There are far more ‘No’ sayers around then ‘Yes’ sayers, but you can train one type to behave like the other. There is a link with status transactions here, since low-status players tend to accept, and high-status players to block.”
Keith Johnstone, Impro: Improvisation and the Theatre

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