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“What have I done, Obie?"
Obie flung his hand in the air, the gesture encompassing all the rotten things that had occur under Archie's command, at Archie's direction. The ruined kids, the capsized hopes. Renault last fall and poor Tubs Casper and all the others including even the faculty. Like Brother Eugene.
"You know what you've done, Archie. I don't need to draw up a list-"
"You blame me for everything, right, Obie? You and Carter and all the others. Archie Costello, the bad guy. The villain. Archie, the bastard. Trinity would be such a beautiful place without Archie Costello. Right, Obie? But it's not me, Obie, it's not me...."
"Not you?" Obie cried, fury gathering in his throat, his chest, his guts. "What the hell do you mean, not you? This could have been a beautiful place to be, Archie. A beautiful time for all of us. Christ, who else, if not you?"
"Do you really want to know who?"
"Okay, who then?" Impatient with his crap, the old Archie crap.
"It's you, Obie. You and Carter and Bunting and Leon and everybody. But especially you, Obie. Nobody forced you to do anything, buddy. Nobody made you join the Vigils. Nobody twisted your arm to make you secretary of the Vigils. Nobody pain you to keep a notebook with all that crap about the students, all their weaknesses, soft points. The notebook made your job easier, didn't it, Obie? And what was your job? Finding the victims. You found them, Obie. You found Renault and Tubs Casper and Gendreau-the first one, remember, when we were sophomores?-how you loved it all, didn't you Obie?" Archie flicked a finger against the metal of the car, and the ping was like a verbal exclamation mark. "Know what, Obie? You could have said no anytime, anytime at all. But you didn't...." Archie's voice was filled with contempt, and he pronounced Obie's name as if it were something to be flushed down a toilet.
"Oh, I'm an easy scapegoat, Obie. For you and everybody else at Trinity. Always have been. But you had free choice, buddy. Just like Brother Andrew always says in Religion. Free choice, Obie, and you did the choosing....”
― Beyond the Chocolate War
Obie flung his hand in the air, the gesture encompassing all the rotten things that had occur under Archie's command, at Archie's direction. The ruined kids, the capsized hopes. Renault last fall and poor Tubs Casper and all the others including even the faculty. Like Brother Eugene.
"You know what you've done, Archie. I don't need to draw up a list-"
"You blame me for everything, right, Obie? You and Carter and all the others. Archie Costello, the bad guy. The villain. Archie, the bastard. Trinity would be such a beautiful place without Archie Costello. Right, Obie? But it's not me, Obie, it's not me...."
"Not you?" Obie cried, fury gathering in his throat, his chest, his guts. "What the hell do you mean, not you? This could have been a beautiful place to be, Archie. A beautiful time for all of us. Christ, who else, if not you?"
"Do you really want to know who?"
"Okay, who then?" Impatient with his crap, the old Archie crap.
"It's you, Obie. You and Carter and Bunting and Leon and everybody. But especially you, Obie. Nobody forced you to do anything, buddy. Nobody made you join the Vigils. Nobody twisted your arm to make you secretary of the Vigils. Nobody pain you to keep a notebook with all that crap about the students, all their weaknesses, soft points. The notebook made your job easier, didn't it, Obie? And what was your job? Finding the victims. You found them, Obie. You found Renault and Tubs Casper and Gendreau-the first one, remember, when we were sophomores?-how you loved it all, didn't you Obie?" Archie flicked a finger against the metal of the car, and the ping was like a verbal exclamation mark. "Know what, Obie? You could have said no anytime, anytime at all. But you didn't...." Archie's voice was filled with contempt, and he pronounced Obie's name as if it were something to be flushed down a toilet.
"Oh, I'm an easy scapegoat, Obie. For you and everybody else at Trinity. Always have been. But you had free choice, buddy. Just like Brother Andrew always says in Religion. Free choice, Obie, and you did the choosing....”
― Beyond the Chocolate War
“Interviewer ...In the case of "American Psycho" I felt there was something more than just this desire to inflict pain--or that Ellis was being cruel the way you said serious artists need to be willing to be.
DFW: You're just displaying the sort of cynicism that lets readers be manipulated by bad writing. I think it's a kind of black cynicism about today's world that Ellis and certain others depend on for their readership. Look, if the contemporary condition is hopelessly shitty, insipid, materialistic, emotionally retarded, sadomasochistic, and stupid, then I (or any writer) can get away with slapping together stories with characters who are stupid, vapid, emotionally retarded, which is easy, because these sorts of characters require no development. With descriptions that are simply lists of brand-name consumer products. Where stupid people say insipid stuff to each other. If what's always distinguished bad writing -- flat characters, a narrative world that's cliched and not recognizably human, etc. -- is also a description of today's world, then bad writing becomes an ingenious mimesis of a bad world. If readers simply believe the world is stupid and shallow and mean, then Ellis can write a mean shallow stupid novel that becomes a mordant deadpan commentary on the badness of everything. Look man, we'd probably most of us agree that these are dark times, and stupid ones, but do we need fiction that does nothing but dramatize how dark and stupid everything is? In dark times, the definition of good art would seem to be art that locates and applies CPR to those elements of what's human and magical that still live and glow despite the times' darkness. Really good fiction could have as dark a worldview as it wished, but it'd find a way both to depict this world and to illuminate the possibilities for being alive and human in it. You can defend "Psycho" as being a sort of performative digest of late-eighties social problems, but it's no more than that.”
―
DFW: You're just displaying the sort of cynicism that lets readers be manipulated by bad writing. I think it's a kind of black cynicism about today's world that Ellis and certain others depend on for their readership. Look, if the contemporary condition is hopelessly shitty, insipid, materialistic, emotionally retarded, sadomasochistic, and stupid, then I (or any writer) can get away with slapping together stories with characters who are stupid, vapid, emotionally retarded, which is easy, because these sorts of characters require no development. With descriptions that are simply lists of brand-name consumer products. Where stupid people say insipid stuff to each other. If what's always distinguished bad writing -- flat characters, a narrative world that's cliched and not recognizably human, etc. -- is also a description of today's world, then bad writing becomes an ingenious mimesis of a bad world. If readers simply believe the world is stupid and shallow and mean, then Ellis can write a mean shallow stupid novel that becomes a mordant deadpan commentary on the badness of everything. Look man, we'd probably most of us agree that these are dark times, and stupid ones, but do we need fiction that does nothing but dramatize how dark and stupid everything is? In dark times, the definition of good art would seem to be art that locates and applies CPR to those elements of what's human and magical that still live and glow despite the times' darkness. Really good fiction could have as dark a worldview as it wished, but it'd find a way both to depict this world and to illuminate the possibilities for being alive and human in it. You can defend "Psycho" as being a sort of performative digest of late-eighties social problems, but it's no more than that.”
―
“I believe that if, at the end of it all, according to our abilities, we have done something to make others a little happier, and something to make ourselves a little happier, that is about the best we can do. To make others less happy is a crime. To make ourselves unhappy is where all crime starts. We must try to contribute joy to the world. That is true no matter what our problems, our health, our circumstances. We must try.”
―
―
“They don't actually want you to do your own thing, not unless it's their thing too.”
― The Chocolate War
― The Chocolate War
“Look again at that dot. That's here. That's home. That's us. On it everyone you love, everyone you know, everyone you ever heard of, every human being who ever was, lived out their lives. The aggregate of our joy and suffering, thousands of confident religions, ideologies, and economic doctrines, every hunter and forager, every hero and coward, every creator and destroyer of civilization, every king and peasant, every young couple in love, every mother and father, hopeful child, inventor and explorer, every teacher of morals, every corrupt politician, every "superstar," every "supreme leader," every saint and sinner in the history of our species lived there-on a mote of dust suspended in a sunbeam.
The Earth is a very small stage in a vast cosmic arena. Think of the endless cruelties visited by the inhabitants of one corner of this pixel on the scarcely distinguishable inhabitants of some other corner, how frequent their misunderstandings, how eager they are to kill one another, how fervent their hatreds. Think of the rivers of blood spilled by all those generals and emperors so that, in glory and triumph, they could become the momentary masters of a fraction of a dot.
Our posturings, our imagined self-importance, the delusion that we have some privileged position in the Universe, are challenged by this point of pale light. Our planet is a lonely speck in the great enveloping cosmic dark. In our obscurity, in all this vastness, there is no hint that help will come from elsewhere to save us from ourselves.
The Earth is the only world known so far to harbor life. There is nowhere else, at least in the near future, to which our species could migrate. Visit, yes. Settle, not yet. Like it or not, for the moment the Earth is where we make our stand.
It has been said that astronomy is a humbling and character-building experience. There is perhaps no better demonstration of the folly of human conceits than this distant image of our tiny world. To me, it underscores our responsibility to deal more kindly with one another, and to preserve and cherish the pale blue dot, the only home we've ever known.”
― Pale Blue Dot: A Vision of the Human Future in Space
The Earth is a very small stage in a vast cosmic arena. Think of the endless cruelties visited by the inhabitants of one corner of this pixel on the scarcely distinguishable inhabitants of some other corner, how frequent their misunderstandings, how eager they are to kill one another, how fervent their hatreds. Think of the rivers of blood spilled by all those generals and emperors so that, in glory and triumph, they could become the momentary masters of a fraction of a dot.
Our posturings, our imagined self-importance, the delusion that we have some privileged position in the Universe, are challenged by this point of pale light. Our planet is a lonely speck in the great enveloping cosmic dark. In our obscurity, in all this vastness, there is no hint that help will come from elsewhere to save us from ourselves.
The Earth is the only world known so far to harbor life. There is nowhere else, at least in the near future, to which our species could migrate. Visit, yes. Settle, not yet. Like it or not, for the moment the Earth is where we make our stand.
It has been said that astronomy is a humbling and character-building experience. There is perhaps no better demonstration of the folly of human conceits than this distant image of our tiny world. To me, it underscores our responsibility to deal more kindly with one another, and to preserve and cherish the pale blue dot, the only home we've ever known.”
― Pale Blue Dot: A Vision of the Human Future in Space
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