d

“I also think of those daily slaughters along the highways, of that death that is as horrible as it is banal and that bears no resemblance to cancer or AIDS because, as the work not of nature but of man, it is an almost voluntary death. How can it be that such a death fails to dumbfound us, to turn our lives upside down, to incite us to vast reforms? No, it does not dumbfound us, because like Pasenow, we have a poor sense of the real, and in the sur-real sphere of symbols, this death in the guise of a handsome car actually represents life; this smiling death is con-fused with modernity, freedom, adventure, just as Elisabeth was con-fused with the Virgin. This death of a man condemned to capital punishment, though infinitely rarer, much more readily draws our attention, rouses passions: confounded with the image of the executioner, it has a symbolic voltage that is far stronger, far darker and more repellent. Et cetera.

Man is a child wandering lost—to cite Baudelaire`s poem again—in the "forests of symbols."

(The criterion of maturity: the ability to resist symbols. But mankind grows younger all the time.)”
― Milan Kundera, The Art of the Novel

“From time to time, Marvel enjoyed imagining himself from the vantage point of history, which stretches onward until the morality of events is winnowed until it appears to be fate—one action begetting the next and so on. Progress. This was the place where treachery and failure transformed themselves. What once seemed terrible could become courageous if given enough time. Marvel imagined that one day his sins might be tallied as virtues, that time could render him honorable, as he knew himself to be.”
― Julia Whicker, Wonderblood

“In his heart, he always preferred the actuality of loss to the fear of it.”
― Yukio Mishima, Spring Snow

“I was in a race to see if I would die from the outside in or the inside out.”
― Laurie Halse Anderson, Shout