Ila

“It lies in human nature that deep emotion cannot be prolonged indefinitely, either in the individual or in a people, a fact that is known to all military organizations. Therefore it requires an artificial stimulation, a constant “doping” of excitement; and this whipping up was to be performed by the intellectuals, the poets, the writers and the journalists, scrupulously or otherwise, honestly or as a matter of professional routine. They were to
beat the drums of hatred and beat them they did, until the ears of the unprejudiced hummed and their hearts quaked. In Germany, in France, in Italy, in Russia, and in Belgium, they all obediently served the war
propaganda and thus the mass delusion and mass hatred, instead of fighting against it.”
― Stefan Zweig, The World of Yesterday

“My father is strange, he said, if that needs to be said at all, since everyone is strange except colorless and faceless people, who again are strange since they have nothing of their own. In other words, their character is precisely their lack of character. Except every one of us, of course, because we grow so accustomed to ourselves that everything that’s different from us seems strange, so it could be said that whatever is not us is strange. So my father is strange because he thinks that I’m strange, and the other way around, and so on and so forth. There’s no end to our strangeness, and maybe we should consider that in itself strange. The difference between them is that his father thinks that he, Hassan, has brought misery upon himself with his way of life. And Hassan is convinced that there are many ways for a man to bring misery upon himself, but the least likely way is to do what he wants as long as it doesn’t disgrace him. And so, it turns out that his father is miserable because Hassan is content, and his father’s idea of happiness, both his own and that of his family, would be for Hassan to be genuinely unhappy.”
― Meša Selimović, Death and the Dervish

“Trainwrecks, as public figures, are necessarily also myths. But they’re the villains of the story; they’re our monsters and demons, images of what we fear, and who we fear becoming. I hated Britney early on, because I hated being forced into the role she seemingly enjoyed playing; I wanted to reject the feminine ideal she supposedly embodied, and I wound up rejecting her.

But every wreck is a potential role that women need or want to reject; the magnitude of our hatred for them is determined by how powerfully we fear what they represent. In Britney’s case, she represented the end of youth, and the corruption of purity: She was the pretty, good little girl who became ugly and bad when she grew up, the “Queen of Teen” who was used- up and over-the-hill by age twenty-five. She was the Wages of Feminism, the working mother who tried to have it all and wound up nearly dropping her baby onto the sidewalk. She was the cost of public life, for women.”
― Sady Doyle, Trainwreck: The Women We Love to Hate, Mock, and Fear... and Why

“In all the churches of the city people said heartfelt prayers for his recovery, urging the Almighty to make allowances for one atheist, and God was already supposed to know why he should act on their request. In creating man, God had also created competition for himself. If he didn’t listen to the prayers for Tito’s recovery, he would soon see for himself what kind of monsters his most perfect creations could turn into.”
― Miljenko Jergović, Dvori od oraha