Jandy's Clippings

xkcd - A Webcomic - Alternative Energy Revolution. Alt text: “The moment their arms spun freely in our air, they were doomed — for Man has earned his right to hold this planet against all comers, by virtue of occasionally producing someone totally batshit insane.” Even better, isn’t that Dali’s Quixote? Full of win.

When you are in the middle of a story it isn’t a story at all, but only a confusion; a dark roaring, a blindness, a wreckage of shattered glass and splintered wood; like a house in a whirlwind, or else a boat crushed by the icebergs or swept over the rapids, and all aboard powerless to stop it. it’s only afterwards that it becomes anything like a story at all. When you are telling it, to yourself or to someone else.

Margaret Atwood, Alias Grace

This frivolous lawsuit puts at serious risk the entire tradition of commentary on fiction. Any student writing a paper about the Harry Potter books, any scholarly treatise about it, will certainly do everything she’s complaining about. Once you publish fiction, Ms. Rowling, anybody is free to write about it, to comment on it, and to quote liberally from it, as long as the source is cited…. She let herself be talked into being outraged over a perfectly normal publishing activity, one that she had actually made use of herself during its web incarnation. Now she is suing somebody who has devoted years to promoting her work and making no money from his efforts — which actually helped her make some of her bazillions of dollars. Talent does not excuse Rowling’s ingratitude, her vanity, her greed, her bullying of the little guy, and her pathetic claims of emotional distress

Techdirt: Orson Scott Card Rips Apart JK Rowling For The Lexicon Lawsuit (via markhorne)

Anyhow, he say, you know how it is. You ast yourself one question, it lead to fifteen. I start to wonder why us need love. Why us suffer. Why us black. Why us men and women. Where do children really come from. It didn’t take long to realize I didn’t hardly know anything. And that if you ast yourself why you black or a man or a woman or a bush it don’t mean nothing if you don’t ast why you here, period.

So what you think? I ast.

I think us here to wonder, myself. To wonder. To ast. And that in wondering bout the big things and asting bout the big things, you learn about the little ones, almost by accident. But you never know nothing more about the big things than you start out with. The more I wonder, he say, the more I love.

And people start to love you back, I bet, I say.

Alice Walker, The Color Purple (p 290, next to last letter)

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Theme: Cavalcade

The entire corpus of existing literature should be regarded as a limbo from which discerning authors could draw their characters as required, creating only when they failed to find a suitable existing puppet. The modern novel should be largely a work of reference. Most authors spend their time saying what has been said before—usually much better. A wealth of references to existing works would acquaint the reader instantaneously with the nature of each character, would obviate tiresome explanations and would effectively preclude mountebanks, upstarts, thimbleriggers and persons of inferior education from an understanding of contemporary literature.

Flann O’Brien, At Swim-Two-Birds

11 months ago

It was an unforgettable painting; it set a dense golden halo of light round the most trivial of moments, so that the moment, and all such moments, could never be completely trivial again.

John Fowles, The Magus (pp 100 in the mass market paperback edition)

What happens to a dream deferred?

Does it dry up
like a raisin in the sun?
Or fester like a sore—
And then run?
Does it stink like rotten meat?
Or crust and sugar over—
Like a syrupy sweet?

Maybe it just sags
like a heavy load.

Or does it explode?

Langston Hughes, “Harlem [2]”

Examine for a moment an ordinary mind on an ordinary day. The mind receives a myriad impressions—trivial, fantastic, evanescent, or engraved with the sharpness of steel. From all sides they come, an incessant shower of innumerable atoms; and as they fall, as they shape themselves into the life of Monday or Tuesday, the accent falls differently from of old; the moment of importance came not here but there; so that, if a writer were a free man and not a slave, if he could write what he chose, not what he must, if he could base his work upon his own feeling and not upon convention, there would be no plot, no comedy, no tragedy, no love interest or catastrophe in the accepted style, and perhaps not a single button sewn on as the Bond Street tailors would have it. Life is not a series of gig lamps symmetrically arranged; life is a luminous halo, a semi-transparent envelope surrounding us from the beginning of consciousness to the end. Is it not the task of the novelist to convey this varying, this unknown and uncircumscribed spirit, whatever aberration or complexity it may display, with as little mixture of the alien and external as possible?

Virginia Woolf - “Modern Fiction”

When Laurel was a child, in this room and in this bed where she lay now, she closed her eyes like this and the rhythmic, nighttime sound of the two beloved reading voices came rising in turn up the stairs every night to reach her. She could hardly fall asleep, she tried to keep awake, for pleasure. She cared for her own books, but she cared more for theirs, which meant their voices. In the lateness of the night, their two voices reading to each other where she could hear them, never letting a silence divide or interrupt them, combined into one unceasing voice and wrapped her around as she listened, as still as if she were asleep. She was sent to sleep under a velvety cloak of words, richly patterned and stitched with gold, straight out of a fairy tale, while they went reading on into her dreams.

Eudora Welty, The Optimist’s Daughter (end of Part Two, Chapter One)