All Quotes

"Miss Anthony gave me rather the impression of a woman who was eager to hear all sides of any question, and that I am sure is one of the reasons for her splendid success in the organization which did so much to give the women of this country an equal share in all the privileges of citizenship...Such a dear good friend I found her to be, and she had many such just like her there in Rochester."

"When Miss Anthony took up the cause of women she did not know them by their color, nationality, creed or birth, she stood only for the emancipation of women from the thraldom of sex. She became an invincible champion of anti-slavery. In the half century of her unremitting struggle for liberty, more liberty, and complete liberty for negro men and women in chains and for white women in their helpless subjection to man’s laws, she never wavered, never doubted, never compromised. She held it to be mockery to ask man or woman to be happy or contented if not free. She saw no substitute for liberty. When slavery was overthrown and the work of reconstruction began she was still unwearied and watchful. She had an intimate acquaintance with the leading statesmen of the times. Her judgment and advice were respected and heard in much of the legislation that gave a status of citizenship to the millions of slaves set free."

"There is no death for such as she. There are no last words of love. The ages to come will revere her name. Unnumbered generations of the children of men shall rise up to call her blessed. Her words, her work, and her character will go on to brighten the pathway and bless the lives of all peoples. That which seems death to our unseeing eyes is to her translation. Her work will not be finished, nor will her last word be spoken while there remains a wrong to be righted, or a fettered life to be freed in all the earth."

"she taught us that the real beauty of a true life is found in the harmonious blending of diverse elements, and her life was the epitome of her teaching. She merged a keen sense of justice with the deepest love; her masterful intellect never for one moment checked the tenderness of her emotions...she demonstrated the divine principle that the truest self-development must go hand in hand with the greatest and most arduous service for others...Here was the most harmoniously developed character I have ever known — a living soul whose individuality was blended into oneness with all humanity."

"She knew that where freedom is there is the center of power. In it she saw potentially all that humanity might attain when possessed by its spirit. Hence her cause, perfect equality of rights, of opportunity, of privilege for all, civil and political, was to her the bed-rock upon which all true progress must rest."

"She was in the truest sense a reformer, unhindered in her service by the narrowness and negative destructiveness which often so sadly hampers the work of true reform...She recognized that it was immeasurably more desirable to be honestly and earnestly seeking that which in its attainment might not prove good than to be hypocritically subservient to the truth through a spirit of selfish fear or fawning at the beck of power...She was never found in the cheering crowd that follows an already victorious standard... She was truly great; great in her humility and utter lack of pretension."

"She did not gain the little bit of freedom for herself, but there is scarcely a civilized land, not even our own, in which she has not been instrumental in securing for some woman that to which our leader did not attain."

"We have followed her leadership until we stand upon the mount of vision where she today leaves us. The promised land lies just before us. It is for us to go forward and take possession...Already the call to advance is heard along the line, and one devoted young follower writes: “There are hundreds of us now, her followers, who will try to keep up the work she so nobly began and brought so nearly to completion. We will work the harder to try to compensate the world for her loss.”"

"Our lives today are not conducted in linear terms. They are much more quantified; a stream of random events is taking place."

"I feel that the surrealists have created a series of valid external landscapes which have their direct correspondences within our own minds."

"Everywhere — all over Africa and South America … you see these suburbs springing up. They represent the optimum of what people want. There's a certain sort of logic leading towards these immaculate suburbs. And they're terrifying, because they are the death of the soul … This is the prison this planet is being turned into."

"A widespread taste for pornography means that nature is alerting us to some threat of extinction."

"I think the new science fiction, which other people apart from myself are now beginning to write, is introverted, possibly pessimistic rather than optimistic, much less certain of its own territory. There's a tremendous confidence that radiates through all modern American science fiction of the period 1930 to 1960; the certainty that science and technology can solve all problems. This is not the dominant form of science fiction now. I think science fiction is becoming something much more speculative, much less convinced about the magic of science and the moral authority of science. There's far more caution on the part of the new writers than there was."

"I define Inner Space as an imaginary realm in which on the one hand the outer world of reality, and on the other the inner world of the mind meet and merge. Now, in the landscapes of the surrealist painters, for example, one sees the regions of Inner Space; and increasingly I believe that we will encounter in film and literature scenes which are neither solely realistic nor fantastic. In a sense, it will be a movement in the interzone between both spheres."

"All over the world major museums have bowed to the influence of Disney and become theme parks in their own right. The past, whether Renaissance Italy or ancient Egypt, is reassimilated and homogenized into its most digestible form. Desperate for the new, but disappointed with anything but the familiar, we recolonise past and future. The same trend can be seen in personal relationships, in the way people are expected to package themselves, their emotions and sexuality in attractive and instantly appealing forms."

"A car crash harnesses elements of eroticism, aggression, desire, speed, drama, kinesthetic factors, the stylizing of motion, consumer goods, status — all these in one event. I myself see the car crash as a tremendous sexual event really: a liberation of human and machine libido (if there is such a thing)."

"A hundred years ago one has the impression that people had made a clear distinction between the outer world of work and of agriculture, commerce and social relationships — which was real — and the inner world of their own minds, day-dreams and hopes. Fiction on the one hand; reality on the other. This reality which surrounded individuals, the writer's role of inventing a fiction that encapsulated various experiences going on in the real world and dramatising them in fictional form, worked. Now the whole situation has been reversed. The exterior landscapes of the seventies are almost entirely fictional ones created by advertising, mass merchandising… politics conducted as advertising. It is very difficult for the writer. Given that external reality is a fiction, the writer's role is almost superfluous. He does not need to invent the fiction because it is already there."

"Everything is becoming science fiction. From the margins of an almost invisible literature has sprung the intact reality of the 20th century."

"I think the key image of the 20th century is the man in the motor car. It sums up everything: the elements of speed, drama, aggression, the junction of advertising and consumer goods with the technological landscape. The sense of violence and desire, power and energy; the shared experience of moving together through an elaborately signalled landscape. We spend a substantial part of our lives in the motor car, and the experience of driving condenses many of the experiences of being a human being in the 1970s, the marriage of the physical aspects of ourselves with the imaginative and technological aspects of our lives. I think the 20th century reaches its highest expression on the highway. Everything is there: the speed and violence of our age; the strange love affair with the machine, with its own death."

"The uneasy marriage of reason and nightmare which has dominated the 20th century has given birth to an increasingly surreal world. More and more, we see that the events of our own times make sense in terms of surrealism rather than any other view — whether the grim facts of the death-camps, Hiroshima and Viet Nam, or our far more ambiguous unease at organ transplant surgery and the extra-uterine foetus, the confusions of the media landscape with its emphasis on the glossy, lurid and bizarre, its hunger for the irrational and sensational. The art of Salvador Dalí, an extreme metaphor at a time when only the extreme will do, constitutes a body of prophecy about ourselves unequaled in accuracy since Freud's "Civilization And Its Discontents". Voyeurism, self-disgust, the infantile basis of our fears and longings, and our need to pursue our own psychopathologies as a game — these diseases of the psyche Dali has diagnosed with dismaying accuracy. His paintings not only anticipate the psychic crisis which produced our glaucous paradise, but document the uncertain pleasures of living within it. The great twin leitmotifs of the 20th century — sex and paranoia — preside over his life, as over ours."

"By the time I came to England at the age of sixteen I'd seen a great variety of landscapes. I think the English landscape was the only landscape I'd come across which didn't mean anything, particularly the urban landscape. England seemed to be very dull, because I'd been brought up at a much lower latitude — the same latitude as the places which are my real spiritual home as I sometimes think: Los Angeles and Casablanca. I'm sure this is something one perceives — I mean the angle of light, density of light. I'm always much happier in the south — Spain, Greece — than I am anywhere else. The English one, oddly enough, didn't mean anything. I didn't like it, it seemed odd. England was a place that was totally exhausted."

"A lot of my prophecies about the alienated society are going to come true … Everybody's going to be starring in their own porno films as extensions of the polaroid camera. Electronic aids, particularly domestic computers, will help the inner migration, the opting out of reality. Reality is no longer going to be the stuff out there, but the stuff inside your head. It's going to be commercial and nasty at the same time, like "Rite of Spring" in Disney's Fantasia … our internal devils may destroy and renew us through the technological overload we've invoked."

"I would sum up my fear about the future in one word: boring. And that's my one fear: that everything has happened; nothing exciting or new or interesting is ever going to happen again … the future is just going to be a vast, conforming suburb of the soul."

"She's one of those people who flinch from the very idea of happiness — in her mind nothing could be more boring or bourgeois."

"The American Dream has run out of gas. The car has stopped. It no longer supplies the world with its images, its dreams, its fantasies. No more. It's over. It supplies the world with its nightmares now: the Kennedy assassination, Watergate, Vietnam."

"The residents had eliminated both past and future, and for all their activity, they existed in a civilized and eventless world."

"In a totally sane society, madness is the only freedom."

"Art is the principal way in which the human mind has tried to remake the world in a way that makes sense. The carefully edited, slow-motion, action replay of a rugby tackle, a car crash or a sex act has more significance than the original event. Thanks to virtual reality, we will soon be moving into a world where a heightened super-reality will consist entirely of action replays, and reality will therefore be all the more rich and meaningful."

"For the sake of my children and grandchildren, I hope that the human talent for self-destruction can be successfully controlled, or at least channelled into productive forms, but I doubt it. I think we are moving into extremely volatile and dangerous times, as modern electronic technologies give mankind almost unlimited powers to play with its own psychopathology as a game."

"For me the intentions of background music are openly political, and an example of how political power is constantly shifting from the ballot box into areas where the voter has nowhere to mark his ballot paper. The most important political choices in the future will probably never be consciously exercised. I'm intrigued by the way some background music is surprisingly aggressive, especially that played on consumer complaint phone lines and banks, airplanes and phone companies themselves, with strident non-rhythmic and arms-length sequences that are definitely not user-friendly."

"I began to become an adult when I was 24 and got married and had children. That matures you, but I wouldn't say I was fully an adult until I was in my forties. The trouble with the whole adult debate is that if you're asking 18-year-olds to go out and fight wars for you then you can't deny them adult rights even though in sorts of other ways they wouldn't qualify until they were about 25. These days adolescence stretches much further into adulthood than it used to. There's no longer any encouragement to be mature."

"The cine-camera and television set allow us to perceive slow motion. The concept of anything other than real time had never occurred to anybody until the first slow-motion movies were shown, and this radically altered people's perceptions of nature."

"The bourgeois novel is the greatest enemy of truth and honesty that was ever invented. It's a vast, sentimentalizing structure that reassures the reader, and at every point, offers the comfort of secure moral frameworks and recognizable characters. This whole notion was advanced by Mary McCarthy and many others years ago, that the main function of the novel was to carry out a kind of moral criticism of life. But the writer has no business making moral judgments or trying to set himself up as a one-man or one-woman magistrate's court. I think it's far better, as Burroughs did and I've tried to do in my small way, to tell the truth."

"The advanced societies of the future will not be governed by reason. They will be driven by irrationality, by competing systems of psychopathology."

"The notions about the benefits of transgression in my last three novels are not ones I want to see fulfilled. Rather, they are extreme possibilities that may be forced into reality by the suffocating pressures of the conformist world we inhabit. Boredom and a deadening sense of total pointlessness seem to drive a lot of meaningless crimes, from the Hungerford and Columbine shootings to the Dando murder, and there have been dozens of similar crimes in the US and elsewhere over the past 30 years. These meaningless crimes are much more difficult to explain than the 9/11 attacks, and say far more about the troubled state of the western psyche. My novels offer an extreme hypothesis which future events may disprove — or confirm. They're in the nature of long-range weather forecasts."

"People, particularly over-moralistic Americans, have often seen me as a pessimist and humourless to boot, yet I think I have an almost maniacal sense of humour. The problem is that it's rather deadpan."

"Twenty years ago no one could have imagined the effects the Internet would have: entire relationships flourish, friendships prosper…there’s a vast new intimacy and accidental poetry, not to mention the weirdest porn. The entire human experience seems to unveil itself like the surface of a new planet."

"Along with our passivity, we're entering a profoundly masochistic phase — everyone is a victim these days, of parents, doctors, pharmaceutical companies, even love itself. And how much we enjoy it. Our happiest moments are spent trying to think up new varieties of victimhood..."

"I wanted to rub the human face in its own vomit and force it to look in the mirror."

"Science fiction: The body's dream of becoming a machine. Robotics: The moral degradation of the machine. Typewriter: It types us, encoding its own linear bias across the free space of the imagination."

"In his mind Vaughan saw the whole world dying in a simultaneous auto disaster, millions of vehicles hurled together in a terminal congress of spurting loins and engine coolant."

"My brief stay at the hospital had already convinced me that the medical profession was an open door to anyone nursing a grudge against the human race."

"After being bombarded endlessly by road-safety propaganda it was almost a relief to find myself in an actual accident."

"Sooner or later, all games become serious."

"After the commonplaces of everyday life, with their muffled dramas, all my organic expertise for dealing with physical injury had long been blunted or forgotten. The crash was the only real experience I had been through for years."

"We had entered an enormous traffic jam ... The enormous energy of the twentieth century, enough to drive the planet into a new orbit around a happier star, was being expended to maintain this immense motionless pause."

"In our wounds we celebrated the re-birth of the traffic-slain dead, the deaths and injuries of those we had seen dying by the roadside and the imaginary wounds and postures of the millions yet to die."

"We live in a world ruled by fictions of every kind — mass merchandising, advertising, politics conducted as a branch of advertising, the instant translation of science and technology into popular imagery, the increasing blurring and intermingling of identities within the realm of consumer goods, the preempting of any free or original imaginative response to experience by the television screen. We live inside an enormous novel. For the writer in particular it is less and less necessary for him to invent the fictional content of his novel. The fiction is already there. The writer's task is to invent the reality."

"Science and technology multiple around us. To an increasing extent they dictate the languages in which we speak and think. Either we use those languages, or we remain mute."

"At first Laing found something alienating about the concrete landscape of the project — an architecture designed for war, on the unconscious level if no other."