Sam Van heerden

“How did we get here? My own suspicion is that we are looking at the final effects of the militarization of American capitalism itself. In fact, it could well be said that the last thirty years have seen the construction of a vast bureaucratic apparatus for the creation and maintenance of hopelessness, a giant machine designed, first and foremost, to destroy any sense of possible alternative futures. At its root is a veritable obsession on the part of the rulers of the world - in response to the upheavals of the 1960s and 1970s - with ensuring that social movements cannot be seen to grow, flourish, or propose alternatives; that those who challenge existing power arrangements can never, under any circumstances, be perceived to win.”
― David Graeber, Debt: The First 5,000 Years

“We meet in the midst of a nation brought to the verge of moral, political, and material ruin. Corruption dominates the ballot-box, the Legislatures, the Congress…. The people are demoralized; The newspapers are largely subsidized or muzzled, public opinion silenced, business prostrated, homes covered with mortgages, labor impoverished…. The fruits of the toil of millions are badly stolen to build up colossal fortunes for a few, unprecedented in the history of mankind; and the possessors of these, in turn, despise the Republic and endanger liberty. From the same prolific womb of governmental injustice we breed the two great classes—tramps and millionaires.”
― Ignatius Donnelly

“You are not your illness. You have an individual story to tell. You have a name, a history, a personality. Staying yourself is part of the battle.”
― Julian Seifter

“This is not the "relativism of truth" presented by journalistic takes on postmodernism. Rather, the ironist's cage is a state of irony by way of powerlessness and inactivity: In a world where terrorism makes cultural relativism harder and harder to defend against its critics, marauding international corporations follow fair-trade practices, increasing right-wing demagoguery and violence can't be answered in kind, and the first black U.S. president turns out to lean right of center, the intelligentsia can see no clear path of action. Irony dominates as a "mockery of the promise and fitness of things," to return to the OED definition of irony.

This thinking is appropriate to Wes Anderson, whose central characters are so deeply locked in ironist cages that his films become two-hour documents of them rattling their ironist bars. Without the irony dilemma Roth describes, we would find it hard to explain figures like Max Fischer, Steve Zissou, Royal Tenenbaum, Mr. Fox, and Peter Whitman. I'm not speaking here of specific political beliefs. The characters in question aren't liberals; they may in fact, along with Anderson himself, have no particular political or philosophical interests. But they are certainly involved in a frustrated and digressive kind of irony that suggests a certain political situation. Though intensely self-absorbed and central to their films, Anderson's protagonists are neither heroes nor antiheroes. These characters are not lovable eccentrics. They are not flawed protagonists either, but are driven at least as much by their unsavory characteristics as by any moral sense. They aren't flawed figures who try to do the right thing; they don't necessarily learn from their mistakes; and we aren't asked to like them in spite of their obvious faults. Though they usually aren't interested in making good, they do set themselves some kind of mission--Anderson's films are mostly quest movies in an age that no longer believes in quests, and this gives them both an old-fashioned flavor and an air of disillusionment and futility.”
― Arved Mark Ashby, Popular Music and the New Auteur: Visionary Filmmakers after MTV