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“My own opinion is enough for me, and I claim the right to have it defended against any consensus, any majority, anywhere, any place, any time. And anyone who disagrees with this can pick a number, get in line, and kiss my ass.”
―
―
“Tuition at the College-on-the-Hill is fourteen thousand dollars, Sunday brunch included.”
― White Noise
― White Noise
“That a work of the imagination has to be “really” about some problem is, again, an heir of Socialist Realism. To write a story for the sake of storytelling is frivolous, not to say reactionary.
The demand that stories must be “about” something is from Communist thinking and, further back, from religious thinking, with its desire for self-improvement books as simple-minded as the messages on samplers.
The phrase “political correctness” was born as Communism was collapsing. I do not think this was chance. I am not suggesting that the torch of Communism has been handed on to the political correctors. I am suggesting that habits of mind have been absorbed, often without knowing it.
There is obviously something very attractive about telling other people what to do: I am putting it in this nursery way rather than in more intellectual language because I see it as nursery behavior. Art — the arts generally — are always unpredictable, maverick, and tend to be, at their best, uncomfortable. Literature, in particular, has always inspired the House committees, the Zhdanovs, the fits of moralizing, but, at worst, persecution. It troubles me that political correctness does not seem to know what its exemplars and predecessors are; it troubles me more that it may know and does not care.
Does political correctness have a good side? Yes, it does, for it makes us re-examine attitudes, and that is always useful. The trouble is that, with all popular movements, the lunatic fringe so quickly ceases to be a fringe; the tail begins to wag the dog. For every woman or man who is quietly and sensibly using the idea to examine our assumptions, there are 20 rabble-rousers whose real motive is desire for power over others, no less rabble-rousers because they see themselves as anti-racists or feminists or whatever.”
―
The demand that stories must be “about” something is from Communist thinking and, further back, from religious thinking, with its desire for self-improvement books as simple-minded as the messages on samplers.
The phrase “political correctness” was born as Communism was collapsing. I do not think this was chance. I am not suggesting that the torch of Communism has been handed on to the political correctors. I am suggesting that habits of mind have been absorbed, often without knowing it.
There is obviously something very attractive about telling other people what to do: I am putting it in this nursery way rather than in more intellectual language because I see it as nursery behavior. Art — the arts generally — are always unpredictable, maverick, and tend to be, at their best, uncomfortable. Literature, in particular, has always inspired the House committees, the Zhdanovs, the fits of moralizing, but, at worst, persecution. It troubles me that political correctness does not seem to know what its exemplars and predecessors are; it troubles me more that it may know and does not care.
Does political correctness have a good side? Yes, it does, for it makes us re-examine attitudes, and that is always useful. The trouble is that, with all popular movements, the lunatic fringe so quickly ceases to be a fringe; the tail begins to wag the dog. For every woman or man who is quietly and sensibly using the idea to examine our assumptions, there are 20 rabble-rousers whose real motive is desire for power over others, no less rabble-rousers because they see themselves as anti-racists or feminists or whatever.”
―
“Quelquefois je m'approchais pour observer ces boîtes qui se fendaient comme des huîtres et je découvrais la nudité de leurs organes intérieurs, des feuilles blêmes et moisies, légèrement boursouflées, couvertes de veinules noires, qui buvaient l'encre et sentaient le champignon.”
― The Words: The Autobiography of Jean-Paul Sartre
― The Words: The Autobiography of Jean-Paul Sartre
“Je ne crois pas que les animaux sauvages puissent être heureux ou même joyeux quand ils sont adultes. C'est la vie avec les hommes qui a dû faire naître cette faculté chez les chiens. J'aimerais savoir pourquoi nous agissons sur eux comme une drogue. C'est peut-être le chien qui est responsable de la folie de grandeur de l'homme. Même à moi, il m'est arrivé de penser que je devais avoir quelque chose de particulier, quand je voyais Lynx défaillir de joie en me regardant. Mais je n'avais rien d'exceptionnel, bien sûr ; Lynx était tout simplement fou des hommes comme tous les chiens.”
― The Wall
― The Wall
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