All Quotes

"How am I supposed to take you home when I can't make my feet move from this spot? If I could die tomorrow I would, just so I could spend one more night with you."

"If there's one thing I've learned about people, many will do anything — anything — not to die. And they'll do anything to keep them living their life."

"We all had a drink. Except for the cat, and that's important. The water tasted like... heaven. It floated over your tongue like a cloud. Tuck carved a T in the trunk and we moved on west to find a place to settle down. We put up a house for Mae and Tuck and a little shed for Jesse and me. That was the first time we figured there was something... peculiar. Jesse fell thirty feet and landed on is neck. He was up on his feet before Mae could work up a good cry. Didn't hurt him a bit, no broken bones... nothing. But that's not all... not by a long shot. Things began to happen. Some brush-poppers mistook Mae's horse for a deer. Thing is, the bullets didn't kill him. Barely even left a mark. Then Tuck got bitten by a rattlesnake, and you know what... he didn't die. But the cat did, of old age. And Miles got married. Tuck figured it early on. It was the spring. We all drank from it, even the horse. It had to be... the source of our changelessness. I begged her to come back... to me and find the spring and drink from it. The children, too. It was our only hope... to be together. She'd made up her mind that I'd... sold my soul to the devil. And she left me. She took my babies with her. Everyone... pulled away after that. There was talk of witchcraft... and... black magic. I went lookin' for wars to fight... and I saw brave men die at Vera Cruz. And then Gettysburg. Thousands of them in the blink of an eye. But not me. I couldn't die. Like Little Anna. The influenza took her before she was fifteen. And Bo. He'd be almost eighty now if he were still alive. And my sweet... my sweet young bride. She died in an insane asylum. Old and alone. But I'm still here... I'm still here."

"[to Miles] You're as cozy as barbed wire."

"A secret is about to be discovered. An adventure is about to begin."

"If you could choose to live forever, would you?"

"Tuck's family drinks water from a magical spring, which allows them to live for eternity."

"The spring holds the secret, the secret of life and death."

"Alexis Bledel - Winnie Foster"

"Jonathan Jackson - Jesse Tuck"

"Ben Kingsley - The Man in the Yellow Suit"

"William Hurt - Angus Tuck"

"Sissy Spacek - Mae Tuck"

"Scott Bairstow - Miles Tuck"

"Amy Irving - Mrs. Foster"

"Victor Garber - Robert Foster"

"Julia Hart - Sally Hannaway"

"Noami Kline - Beatrice Ruston"

"Robert Luis - Night Deputy"

"Elisabeth Shue - Narrator"

"The attention that literary artists have lavished on Spinoza is remarkable. Writers have not only shaped their aesthetics by reflection on Spinoza, have not only inserted his views into the inner lives and dialogues of their characters, but have molded the man himself into a protagonist in their novels, poems, and plays. This last aspect of the literary fascination with Spinoza is particularly noteworthy. The person of Benedictus Spinoza has drawn, over the centuries, unusual attention, and not only from literary writers."

"Those who are in ideology believe themselves by definition outside ideology: one of the effects of ideology is the practical denegation of the ideological character of ideology by ideology: ideology never says, ‘I am ideological’. It is necessary to be outside ideology, i.e. in scientific knowledge, to be able to say: I am in ideology (a quite exceptional case) or (the general case): I was in ideology. As is well known, the accusation of being in ideology only applies to others, never to oneself (unless one is really a Spinozist or a Marxist, which, in this matter, is to be exactly the same thing). Which amounts to saying that ideology has no outside (for itself), but at the same time that it is nothing but outside (for science and reality). Spinoza explained this completely two centuries before Marx, who practiced it but without explaining it in detail."

"Hegel is (unknowingly) an admirable 'theoretician' of ideology insofar as he is a 'theoretician' of Universal Recognition who unfortunately ends up in the ideology of Absolute Knowledge. Feuerbach is an astonishing 'theoretician' of the mirror connexion, who unfortunately ends up in the ideology of the Human Essence. To find the material with which to construct a theory of the guarantee, we must turn to Spinoza."

"Machiavelli is not in the least utopian; he simply thinks the conjunctural case of the thing, and goes dietro alla verità effettuale della cosa. He asserts it in concepts which are philosophical and no doubt make him, in his temerity, solitude and scorn for the philosophers of the tradition, the greatest materialist philosopher in history – the equal of Spinoza, who declared him "acutissimus', most acute. Spinoza considered him acutissimus in politics. He would appear not to have suspected that Machiavelli was also most incisive in materialist philosophy."

"The Jewish tradition has two distinct tendencies: the more fundamental one, represented by the philosophers and poets and scholars who were interested only in Jewish issues and in the Jewish Weltanschauung; and the other tendency associated with great figures such as Spinoza or Einstein, and to a certain extent also Heinrich Heine, and which applied the traditions of Jewish thinking to other cultures, including German culture, and to other issues. It is not difficult to see how a double identity developed among Jews."

"I would not claim that Spinoza is the only philosopher who can help maintain equilibrium, but whenever I have been in a difficult situation, professional or personal, it has been Spinoza's emphasis on our ability to reason in everyday life that has come to my rescue. We must understand the possibility, even the necessity of negative aspects of our lives, such as depression, lack of energy or unhappiness. Reason can show us the difference between what is temporary, and what is permanent."

"The great Voltaire once accused Spinoza of ‘abusing metaphysics’. Is not the uncompromising nature of metaphysics more important today than ever? Has not liberated thinking become the most valued freedom at a time when political systems, social constraints, moral codes and political correctness often control our thinking?"

"Spinoza helps me to see myself objectively. This makes life bearable even in experiencing suffering; and with the teachings from the Ethics the world is perceived as manageable."

"Spinoza would not tolerate restrictions, imposed by any political or religious system or by any moral attitude. He struggled for the ideal of free thought. Hardly any other philosopher made so many enemies. He was labelled ‘a troublemaking Jew’, banned from the synagogue and from the academic establishment. Even his pupils would acknowledge him in private. And when Karl Ludwig asked the impoverished lonely philosopher to lecture at the University of Heidelberg, he turned him down. Spinoza could not guarantee that his thinking would not threaten ‘widely accepted religious concepts’. The philosopher in him preferred the quiet retiring life to a bourgeois career."

"Spinoza had no particular interest in music. Nonetheless, his logic was influenced by his approach to music. My father, who studied philosophy, was the first to introduce me to Spinoza. He advised me to look at scores philosophically and rationally. Spinoza's principle that reason and emotion cannot be separated, became for me a primary approach to music. I believe that one can approach a concept and a piece of music only if the logical structure can be established simultaneously with the emotional content."

"I think back to the last discussion I had with the great conductor Otto Klemperer. We talked about Spinoza and he said “Spinoza's Ethics is the most important book ever written”. Klemperer was, as we know, Jewish. At the age of 22 he converted to Christianity because he believed that only as a Christian could he conduct Bach's St Matthew Passion. Many years later, after the War, when Klemperer had already reached old age, he converted back to Judaism. And the reason he gave was Spinoza's Ethics. Perhaps the most important Jewish philosophy. Questions about Jewish ethics and morals and “What is being Jewish?” were long identified as being a minority. The traditional thinking and perceived identity of the Jewish people in its 2,000 year history was as a minority. Historically the Jews were integrated into social and cultural life but tragically persecuted under the Spanish Inquisition and the tyranny of Adolf Hitler. What is special about Spinoza's philosophy is that, despite persecution, abuse and alienation, his thinking was never based on the premise of Jews being a minority. That is precisely why his philosophy is so contemporary, now that the Jewish people have their own state, i.e. are no longer a minority. Spinoza's Ethics remains a potent formula for creating intellectual and moral unity among the Jews."

"Spinoza suffered two experiences which are strongly evident today. Although a Jew, he was excluded from the Jewish community; he also became a victim of anti-Semitism. A recent survey in Germany exposed the reality that a majority of Germans believe that the Jews were the greatest risk to world peace. [...] It is significant that Spinoza's ideas had an influence on what is regarded as typical German thinking today – on Feuerbach, Wagner and Nietzsche. How could Richard Wagner become an anti-semite while influenced by Spinoza? Anti-semitism definitely formed part of the profile of a German nationalist in the nineteenth century. Why did Wagner pursue this idea with such fervour? He could not draw these ideas from his spiritual father, the heir to Spinoza, Feuerbach."

"...So when you play five notes, if each note had a big ego it would want to be louder than the note before. And therefore I learned from this very simple fact, that no matter how great an individual you are, music teaches you that the creativity only work in groups, and the expression of the group is very often larger than the sum of the parts. And you can draw whatever conclusions you want from this, but I think that this is a not unimportant factor. And maybe in a strange way I've found some answers to all this, not in music but in philosophy, especially from reading regularly and for many years the Ethics of Spinoza. Spinoza was a religious scholar, a political architect, a philosopher, who aspired to geometric demonstration of the universe and the human being in it, and he was a biological thinker who advanced the science of emotion. And there lies of course one of the great difficulties of making music, the science of emotion."

"...We know at least since Spinoza that joy and its variant lead to a greater functional perfection, and that sorrow and related effects are unhealthy and should therefore be avoided. But music allows us to feel pain and pleasure simultaneously, both as players, and as listeners. [...] Music to me is sound with thought, and as Spinoza believed that rationality was the saving grace of the human being, then we must learn to look at music like this too."

"I read Spinoza's Ethics for the first time when I was thirteen years old. Of course at school we studied the Bible – which for me is the ultimate philosophical work. However, reading Spinoza opened up a new dimension for me, which is the reason for my continuing dedication to his works. Spinoza's simple principle 'man thinks' has become an existential mindset for me; my copy of his Ethics has become dog-eared and torn. For years I took it with me on my travels and in hotel rooms or intervals in concerts became absorbed by many of its principles. Spinoza's Ethics is the best training ground for the intellect, above all because Spinoza teaches the radical freedom of thought more completely than any other philosopher. This Spinozan brand of freedom is not a release from discipline into arbitrariness of thought, but an active process. The more one is able to determine one's own thoughts – in fact, causing one's own thoughts, thereby creating one's own experience of reality – the more it is possible to become self-determined, to be truly free."

"...This awareness has become a kind of pre-Freudian self-analysis for me; Spinoza helps me to see myself and my surroundings objectively. This can make life bearable even throughout the experience of suffering; the teachings presented in the Ethics allow one to preceive the world as a manageable place. Freud himself once wrote in a letter to [Lothar] Bickel, 'I admit my dependence on Spinoza's teachings.' Conversely, Spinoza admits, foreshadowing Freudian analysis, that we cannot be in complete control over our emotions. [...] The ability to create emotional balance, though, is dependent upon the intellectual awareness of the problem. In this way Spinoza demands the integration of all human aspects in order to attain true freedom."

"One of Spinoza's most important conclusions is that of the human being's necessity to overcome the contradiction between the finite and the infinite. Spinoza was able to express the very nature of the Judaeo-Christian way of thought and, at the same time, to remain outside it and even negate it. Both in the Jewish and the Christian traditions, God creates the world but is outside it. Spinoza, on the other hand, would not say that God creates the world, but that He produces it – in philosophical terms, He causes it. God, for Spinoza, is not outside the world and this view was the object of very harsh criticism by his contemporaries. The Jewish community in Holland even saw fit to excommunicate him. The God of Judeao-Christian thought, according to Spinoza, is an invention of man, who imagines that God thinks and acts as human beings do."

"There is no substitute for knowledge, self-knowledge, or a metaphysical understanding of the score and one's relationship to it; and no amount of talent or even training can compensate for the lack of all these elements. 'Man thinks,' says Spinoza, and this thinking is the result of a dialogue between the intellect, the emotions and the intuition. This is not only true of the thinking of each individual, but of groups of people and even of nations."

"The rise of Spinozism in the late eighteenth century is a phenomenon of no less significance than the emergence of Kantianism itself. By the beginning of the nineteenth century, Spinoza's philosophy had become the main competitor to Kant's, and only Spinoza had as many admirers or adherents as Kant."

"Until the publication of Jacobi's Briefe über die Lehre von Spinoza in 1785, Spinoza was a notorious figure in Germany. For more than a century the academic and ecclesiastical establishment had treated him “like a dead dog” as Lessing later put it. The Ethica was published in Germany in 1677, and the Tractatus Theologico-politicus in 1670 (though it appeared anonymously, Spinoza was known to be the author). Until the middle of the eighteenth century it was de rigueur for every professor and cleric to prove his orthodoxy before taking office; and proving one's orthodoxy demanded denouncing Spinoza as a heretic. Since attacks on Spinoza became a virtual ritual, there was an abundance of defamatory and polemical tracts against him. Indeed, by 1710 so many professors and clerics had attacked Spinoza that there was a Catalogus scriptorum Anti-spinozanorum in Leipzig. And in 1759 Trinius counted, probably too modestly, 129 enemies of Spinoza in his Freydenkerlexicon. Such was Spinoza's reputation that he was often identified with Satan himself. Spinoza was seen as not only one form of atheism, but as the worst form. Thus Spinoza was dubbed the "Euclides atheisticus', the 'princips atheorum."

"What interested me most in Spinoza wasn't his Substance, but the composition of finite modes. I consider this one of the most original aspects of my book. That is: the hope of making substance tum on finite modes, or at least of seeing in substance a plane of immanence in which finite modes operate, already appears in this book. What I needed was both (1) the expressive character of particular individuals, and (2) an immanence of being. Leibniz, in a way, goes still further than Spinoza on the first point. But on the second, Spinoza stands alone. One finds it only in him. This is why I consider myself a Spinozist, rather than a Leibnizian, although I owe a lot to Leibniz. In the book I'm writing at the moment, What is Philosophy?, I try to return to this problem of absolute immanence, and to say why Spinoza is for me the 'prince' of philosophers."

"Spinoza: the absolute philosopher, whose Ethics is the foremost book on concepts."

"After 1785 public opinion of Spinoza changed from almost universal contempt to almost universal admiration, largely as a result of the publication of Jacobi's Briefe, in which he revealed Lessing's Spinozism. Lessing was the most admired figure of the Aufklarung, and his credo automatically gave a stamp of legitimacy to every secret Spinozist. One after another the Spinozists could now come out of their closets and form a file behind Lessing. If Lessing was an honorable man and a Spinozist, then they could be too. Ironically, Jacobi's Briefe did not destroy Lessing's reputation, as Mendelssohn feared. It did the very opposite, making him a hero in the eyes of the nonconformists. Lessing made it a fashion to be unorthodox; and to be fashionably unorthodox was to be a Spinozist. Of course, Lessing's credo explains only how Spinozism became respectable. It accounts for why a Spinozist might go public, but not for why he became a Spinozist in the first place. To understand why Spinozism became the credo of so many other thinkers, we have to consider the new situation of the sciences at the close of the eighteenth century. The rise in the fortunes of Spinozism resulted in part from the consequence of the decline of theism and deism."

"Hegel turned fully to Spinoza only in his early Jena years during his collaboration with Schelling, who had been especially inspired by Spinoza, and who, even during his Fichtean phase, declared himself to be a Spinozist. But Hegel's turning toward Spinozism was not simply the result of Schelling's influence. It fitted hand-in-glove with his own intention to find some rational foundation for his organic vision. After all, there were some deep affinities between Spinoza's doctrines and Hegel's mystical pantheism; Hegel could only have admired Spinoza's monism, his immanent religion, and his intellectual love of God. It was indeed Spinoza who had first attempted to find a rational foundation and technical vocabulary for such doctrines. It is no accident, then, that we find Hegel's first metaphysical writings in the Jena years replete with Spinozist vocabulary and full of sympathetic references to Spinoza."

"The prototype for Hegel's reading of the principle of subject–object identity came not from the Kantian–Fichtean tradition but its very antithesis: Spinozism. For Schelling and Hegel around 1801, the principle of subject–object identity essentially functioned as a declaration of their monism. It served as a statement of protest against all forms of dualism, whether Kantian, Fichtean or Cartesian. Schelling and Hegel greatly admired Spinoza for his monism, for showing how to overcome dualism when Kant, Fichte and Jacobi had only reinstated it. True to Spinoza, their principle of subject–object identity essentially means that the subjective and the objective, the intellectual and the empirical, the ideal and the real – however one formulates the opposition – are not distinct substances but simply different aspects, properties or attributes of one and the same substance. The principle follows immediately from the Spinozist proposition that there is only one substance, of which everything else is either a mode or an attribute. If this is the case, then the subjective and objective cannot be two things but must be only modes or attributes of one and the same thing. Though he never used the term, Spinoza himself had developed something like a principle of subject–object identity."

"No philosopher was ever more worthy, but neither was any philosopher more maligned and hated. To grasp the reason for this it is not enough to recall the great theoretical thesis of Spi­nozism: a single substance having an infinity of attributes, Deus sive Natura, all "creatures" being only modes of these attributes or modifications of this substance. It is not enough to show how pantheism and atheism are combined in this thesis, which denies the existence of a moral, transcendent, creator God. We must start rather from the practical theses that made Spinozism an object of scandal. These theses imply a triple denunciation: of "consciousness," of "values," and of "sad passions." These are the three major resemblances with Nietzsche. And already in Spinoza's lifetime, they are the reasons for his being accused of materialism, immoralism, and atheism."

"In the reproach that Hegel will make to Spinoza, that he ignored the negative and its power, lies the glory and innocence of Spinoza, his own discovery. In a world consumed by the negative, he has enough confidence in life, in the power of life, to challenge death, the murderous appetite of men, the rules of good and evil, of the just and the unjust. Excommunication, war, tyranny, reaction, men who fight for their enslavement as if it were their freedom — this forms the world in which Spinoza lives. The assassination of the De Witt brothers is exemplary for him. Ultimi barbarorum. In his view, all the ways of humiliating and breaking life , all the forms of the negative have two sources, one turned outward and the other inward, resentment and bad conscience, hatred and guilt. "The two archenemies of the human race, Hatred and Re­morse." He denounces these sources again and again as being linked to man's consciousness, as being inexhaustible until there is a new consciousness, a new vision, a new appetite for living. Spinoza feels, experiences, that he is eternal."

"Writers, poets, musicians, filmmakers – painters too, even chance reader – may find that they are Spinozists; indeed, such a thing is more likely for them than for professional philosophers. It is a matter of one's practical conception of the “plan”. It is not that one may be a Spinozist without knowing it. Rather, there is a strange privilege that Spinoza enjoys something that seems to have been accomplished by him and no one else. He is a philosopher who commands an extraordinary conceptual apparatus, one that is highly developed, systematic, and scholarly; and yet he is the quintessential object of an immediate, unprepared encounter, such that a nonphilosopher, or even someone without any formal education, can receive a sudden illumination from him, a “flash”. Then it is as if one discovers that one is a Spinozist; one arrives in the middle of Spinoza, one is sucked up, drawn into the system or the composition. (…) What is unique about Spinoza is that he, the most philosophic of philosophers (…) teaches the philosopher how to become a non-philosopher."

"Spinoza's ethics has nothing to do with a morality; he conceives it as an ethology, that is, as a composition of fast and slow speeds, of capacities for affecting and being affected on this plane of immanence. That is why Spinoza calls out to us in the way he does: you do not know beforehand what good or bad you are capable of; you do not know beforehand what a body or a mind can do, in a given encounter, a given arrangement, a given combination."

"Spinoza is the Christ of philosophers, and the greatest philosophers are hardly more than apostles who distance themselves from or draw near to this mystery."