Existentialists

"Finally rises philosophy, which, after a few monstrous efforts from Calvin to Leibnitz to reconcile contradictions and form a theodice, comes out boldly in Spinozism to declare the impossibility of the existence of a power antagonistic to God; and defining the perfection of man's nature, as the condition under which it has fullest action and freest enjoyment of all its powers, sets this as a moral ideal hefore us, toward which we shall train our moral efforts as the artist trains his artistic efforts towards his ideal. The success is various, as the faculties and conditions which God has given are various; but the spectre which haunted the conscience is gone. Our failures are errors, not crimes — nature's discipline with which God teaches us; and as little violations of His law, or rendering us guilty in His eyes, as the artist's early blunders, or even ultimate and entire failures, are laying store of guilt on him."

"We start with enthusiasm — out we go each of us to our task in all the brightness of sunrise, and hope beats along our pulses; we believe the world has no blanks except to cowards, and we find, at last, that, as far as we ourselves are concerned, it has no prizes; we sicken over the endless unprofitableness of labour most when we have most succeeded, and when the time comes for us to lay down our tools we cast them from us with the bitter aching sense, that it were better for us if it had been all a dream. We seem to know either too much or too little of ourselves — too much, for we feel that we are better than we can accomplish; too little, for, if we have done any good at all, it has heen as we were servants of a system too vast for us to comprehend. We get along through life happily between clouds and sunshine, forgetting ourselves in our employments or our amusements, and so long as we can lose our consciousness in activity we can struggle on to the end. But when the end comes, when the life is lived and done, and stands there face to face with us; or if the heart is weak, and the spell breaks too soon, as if the strange master-worker has no longer any work to offer us, and turns us off to idleness and to ourselves; in the silence then our hearts lift up their voices, and cry out they can find no rest here, no home. Neither pleasure, nor rank, nor money, nor success in life, as it is called, have satisfied, or can satisfy; and either earth has nothing at all which answers to our cravings, or else it is something different from all these, which we have missed finding — this peace which passes understanding — and from which in the heyday of hope we had turned away, as lacking the meretricious charm which then seemed most alluring. I am not sermonizing of Religion, or of God, or of Heaven, at least not directly."

"Woe to the unlucky man who as a child is taught, even as a portion of his creed, what his grown reason must forswear."

"Look not to have your sepulchre built in after ages hy the same foolish hands which still ever destroy the living prophet. Small honour for you if they do build it; and may be they never will build it."

"Our instinct has outrun our theory in this matter; for while we still insist upon free will and sin, we make allowance for individuals who have gone wrong, on the very ground of provocation, of temptation, of bad education, of infirm character. By and by philosophy will follow, and so at last we may hope for a true theory of morals. It is curious to watch, in the history of religious beliefs, the gradual elimination of this monster of moral evil. The first state of mankind is the unreflecting state. The nature is undeveloped, looking neither before nor after; it acts on the impulse of the moment, and is troubled with no weary retrospect, nor with any notions of a remote future which present conduct can affect; and knowing neither good nor evil, better or worse, it does simply what it desires, and is happy in it. It is the state analogous to the early childhood of each of us, and is represented in the common theory of Paradise — the state of innocence."

"It is an old remark, that as men are, such they paint their gods; and as in themselves the passionate, or demonic nature, long preponderated, so the gods they worshipped were demons like themselves, jealous, capricious, exacting, revengeful, the figures which fill the old mythologies, and appear partly in the Old Testament. They feared them as they feared the powerful of their own race, and sought to propitiate them by similar offerings and services. Go on, and now we find ourselves on a third stage; but now fast rising into a clearing atmosphere. The absolute worth of goodness is seen as distinct from power; such beings as these demon gods could not he the highest beings. Good and evil could not coexist in one Supreme; absolutely different in nature, they could not have a common origin; the moral world is bipolar, and we have dualism, the two principles, coeternal, coequal. By and by, again, the horizon widens. The ultimate identity of might and right glimmers out feebly in the Zenda Vesta as the stars come out above the mountains when we climb out of the mist of the valleys. The evil spirit is no longer the absolute independent Ahriman; but Ahriman and Ormuzd are but each a dependent spirit; and an awful formless, boundless figure, the eternal, the illimitable, looms out from the abyss behind them, presently to degrade still farther the falling Ahriman into a mere permitted Satan, finally to be destroyed."

"What is right or duty without power? To tell a man it is his duty to submit his judgment to the judgment of the church, is like telling a wife it is her duty to love her husband — a thing easy to say, but meaning simply nothing. Affection must be won, not commanded."

"Fling away your soul once for all, your own small self; if you will find it again. Count not even on immortality."

"I could never fear a God who kept a hell prison-house. No, not though he flung me there because I refused. There is a power stronger than such a one; and it is possible to walk unscathed even in the burning furnace."

"By the 1940s there was Richard Wright, a gifted novelist ... His autobiography of 1937, Black Boy, gave endless insights: for instance, how blacks were set against one another, when he told how he was prodded to fight another black boy for the amusement of white men."

"Richard Wright’s outstanding characteristics are two seemingly opposite tendencies. One is an overwhelming need for association and integration with humanity at large. The other is a tragic, highly individualized loneliness. Except that he is a Negro in 20th century America he might have been a lyric poet. Whenever he describes the life he wants for mankind he rises to great heights of lyric beauty. At the same time when he doubts that a new life can ever be achieved he writes with the same beauty but in tragic despair. Wright wants a new world; men working freely together in social relationships that not only realize a complete personality but develop every potential and result in new associations and new men altogether. He wants to share a common life, not in a regimented sense but in a free interchange of ideas and experience; a relationship which will be the blending of a common belief and a solidarity of ideals. He wants a life in which basic emotions are shared; in which common memory forms a common past; in which collective hope reflects a national future. He has a vision of life where man can reveal his destiny as man by grappling with the world and getting from it the satisfactions he feels he must have. He wants a life where man’s inmost nature and emotional capacities will be used. He has a passionate longing to belong, to be identified with the world at large; he wants the "deep satisfaction of doing a good job in common with others." He doesn’t want a society where he is separate as Negro, but one where he is just another man."

"So far only Wright has positively revealed the state of mind of a people bursting with energy, untroubled by feudal remains or a feudal past, soaked to the bone in traditions of individual freedom and free association—traditions constantly held before them as the basis of their civilization, yet utterly unrealized in the face of automation and the threat of atomic annihilation."

"Kierkegaard is one of the great writers of today. He is one of the men who, during the last twenty or thirty years, modern civilization has recognized as a man whose writings express the modern temperament and the modern personality. And Dick assured me that he was reading Kierkegaard because everything he read in Kierkegaard he had known before. What he was telling me was that he was a black man in the United States and that gave him an insight into what today is the universal opinion and attitude of the modern personality. I believe that is a matter that is not only black studies, but is white studies too. I believe that that is some form of study which is open to any university: Federal City College, Harvard, etc. It is not an ethnic matter. I knew Wright well enough to know that he meant it. I didn’t ask him much because I thought he meant me to understand something. And I understood it. I didn’t have to ask him about that. What there was in Dick’s life, what there was in the experience of a black man in the United States in the 1930s that made him understand everything that Kierkegaard had written before he had read it and the things that made Kierkegaard the famous writer that he is today? That is something that I believe has to be studied."

"I clearly remember my introduction to the African American heritage. I was in the school sanatorium with a bad attack of the flu when the headmistress came to see me, bringing copies of Wright's Native Son, Black Boy and Trevor Huddleston's Naught For Your Comfort, I could not put any of the books down."

"He came like a sledgehammer, like a giant out of the mountain with a sledgehammer, writing with a sledgehammer..."

"Most of the writers with whom I was most impressed were the French and Russian writers of another period. The one American writer who stood out to me was Richard Wright-and Dreiser. I took to their naturalism. I was able to understand so much of the country through them. Certainly I understood Black America because of Richard Wright."

"In an era when fiction with political intent was widely condemned, Wright’s haunting novel, with its clear political message, made me unafraid to write a political novel. It also showed me that presenting horrifying actions can serve a powerful literary purpose, and that “shocking” can be high praise."

"Richard went to Paris in 1946, when I was 22, he was 38. Now, it took me a long time; I had to get to be much older to realize something. I didn't realize it that day at all. I was not born in Mississippi; I was born in New York. And I did not leave Mississippi to go to Chicago. And endure all that. I was much too young to realize what I was looking at really. But, that's a journey. To go from Mississippi to Chicago to New York to Paris in 38 years is amazing. You might as well have walked all that distance, it's almost that remarkable."

"He was much more stern and realistic than I tend to be. I'm not unrealistic, except in the sense that some things are so unpleasant I need to alter them a bit."

"I was preoccupied with books by black people that approached the subject, but I always missed some intimacy, some direction, some voice. Ralph Ellison and Richard Wright-all of whose books I admire enormously-I didn't feel were telling me something. I thought they were saying something about it or us that revealed something about us to you, to others, to white people, to men. Just in terms of the style, I missed something in the fiction that I felt in a real sense in the music and poetry of black artists. When I began writing I was writing as though there was nobody in the world but me and the characters, as though I was talking to them, or us, and it just had a different sound to it."

"The moment we act as if it's true, then it's true."

"Maybe anything's right, he mumbled. Yes, if the world as men had made it was right, then anything else was right, any act a man took to satisfy himself, murder, theft, torture.He straightened with a start. What was happening to him? ... He was going to do something, but what? Yes, he was afraid of himself, afraid of doing some nameless thing."

"Negroes, as they enter our culture, are going to inherit the problems we have, but with a difference. They are outsiders and they are going to know that they have these problems. They are going to be self‑conscious; they are going to be gifted with a double vision, for, being Negroes, they are going to be both inside and outside of our culture at the same time. Every emotional and cultural convulsion that ever shook the heart and soul of Western man will shake them. Negroes will develop unique and specially defined psychological types. They will become psychological men, like the Jews . . . They will not only be Americans or Negroes; they will be centers of knowing, so to speak . . . The political, social, and psychological consequences of this will be enormous . . ."

"A sleepless spring night: Yearning for what I never had And for what never was."

"Burning autumn leaves, I yearn to make the bonfire Bigger and bigger."

"In a drizzling rain, In a flower shop’s doorway, A girl sells herself"

"I give permission For this slow spring rain to soak The violet beds."

"I am nobody: A red sinking autumn sun Took my name away."

"A man who worships in the Seventh-Day Adventist Church lives, psychologically, in a burning and continuous moment that never ends: the present is ever-lasting; the past is telescoped into the now; there is no future and at any moment Christ may come again and then the anxious tension of time will be no more.... [My grandmother] lived with all of us, yet, psychologically, she hovered somewhere off in space.... Always she seemed to be peeping out of Heaven into the world while living in the world."

"He did not feel that he was stealing, for the cleaver, the radio, the money, and the typewriter were all on the same level of value, all meant the same thing to him. They were the serious toys of the men who lived in the dead world of sunshine and rain he had left, the world that had condemned him, branded him guilty."

"He would go there and clear up everything, make a statement. What statement? He did not know. He was the statement, and since it was all so clear to him, surely he would be able to make it clear to others."

"“Where could he find such experiences, such spheres of existence? In the main, he accepted the kind of world that the Bible claimed existed; but, for the sufferings, terrors, accidental births, and meaningless deaths of that world, he rejected the Biblical prescriptions of repentance, prayer, faith and grace. He was persuaded that what started on this earth had to be rounded off and somehow finished here.”"

"With a twitching nose A dog reads a telegram On a wet tree trunk."

"A slow autumn rain: The sad eyes of my mother Fill a lonely night."

"Oh, Christ their disease had reached out and claimed him too. He had been subverted by the contagion of the lawless; he had been defeated by that which he had sought to destroy."

"“He had fled a world that he had known and that had emotionally crucified him, but what was he here in this world whose impact loosed storms in his blood? Could he ever make the white faces around him understand how they had charged his world with images of beckoning desire and dread? Naw, naw…No one could believe the kind of life he had lived and was living."

"And, curiously, he felt that he was something, somebody, precisely and simply because of that cold threat of death. The terror of the white world had left no doubt in him about his worth; in fact, that white world had guaranteed his worth in the most brutal and dramatic manner. Most surely he was was something, in the eyes of the white world, or it would not have threatened him as it had. That white world, then, threatened as much as it beckoned. Though he did not know it, he was fatally in love with that white world, in love in a way that could never be cured. That white world's attempt to curb him dangerously and irresponsibly claimed him for its own."

".... Above all, he was ashamed of his world, for the world about him had branded his world as bad, inferior. Moreover, he felt no moral strength or compulsion to defend his world. That in him which had always made him self-conscious was now the bud of a new possible life that was pressing ardently but timidly against the shell of the old to shatter it and be free.""

"Wright was an American phenomenon. Lenin, during the Russian Revolution, looked at the jubilant former serfs who'd changed the course of history. Wouldn't he be thinking also of one like this one when he dreamed of creating a new man? Phenomena-especially Black ones-can't be measured by ordinary standards. Perhaps this is what W. E. B. DuBois had in mind when he said, "We struggle not only for the right of Blacks to be right but also for their right to be wrong!" Wright was a prodigious reader and he never failed to credit the extraordinary 10-year leap from semi-illiterate Black serf to literary giant to his discovery of Marx, Engels and Lenin, which subsequently led to his membership in the Communist Party. Mississippi had taught him to despise capitalist exploitation and injustice."

"I would say that Dick was my closest friend. We had a small group, Dick Wright, Chester Himes and myself and we lived and enjoyed French life."

"As a protective mechanism, I developed a terse, cynical mode of speech that rebuffed those who sought to get too close to me. Conversation was my way of avoiding expression; my words were reserved for those times when I sat down alone to write. My face was always a deadpan or a mask of general friendliness; no word or event could jar me into a gesture of enthusiasm or despair."

"I would hurl words into this darkness and wait for an echo, and if an echo sounded, no matter how faintly, I would send other words to tell, to march, to fight, to create a sense of hunger for life that gnaws in us all."

"My ability to endure tension had now grown amazingly. From the accidental pain of southern years, from anxiety that I had sought to avoid, from fear that had been too painful to bear, I had learned to like my unintermittent burden of feeling, had become habituated to acting with all of my being, had learned to seek those areas of life, those situations, where I knew that events would complement my own inner mood. I was conscious of what was happening to me; I knew that my attitude of watchful wonder had usurped all other feelings, had become the meaning of my life, an integral part of my personality; that I was striving to live and measure all things by it. Having no claims upon others, I bent the way the wind blew, rendering unto my environment that which was my environment's, and rendering unto myself that which I felt was mine. It was a dangerous way to live, far more dangerous than violating laws or ethical codes of conduct; but the danger was for me and me alone."

"I'm an American Negro; as such, I've had a burden of race consciousness. So have these people. I worked in my youth as a common laborer, and I've had a class consciousness. So have these people. I grew up in the Methodist and Seventh Day Adventist churches and I saw and observed religion in my childhood; and these people are religious. I was a member of the Communist Party for twelve years and I know something of the politics and psychology of rebellion.... These emotions are my instruments.... I want to try to use these emotions to try to find out what these people feel and think and why."

"What vision must Negro writers have before their eyes in order to feel the impelling necessity for an about face? What angle of vision can show them all the forces of modern society in process, all the lines of economic development converging toward a distant point of hope? Must they believe in some `ism'? ("Blueprint" 45)"

"[As] the tide of white domination of the land mass of Asia and Africa recedes, there lies exposed to view a procession of shattered cultures, disintegrated societies, and a writhing sweep of more aggressive, irrational religion than the world has known for centuries."

"Perspective is that part of a poem, novel, or play which a writer never puts directly upon paper. It is that fixed point in intellectual space where a writer stands to view the struggles, hopes, and sufferings of his people. There are times when he may stand too close and the result is a blurred vision. Or he may stand too far away and the result is a neglect of important things."

"I declare unabashedly that I like and even cherish the state of abandonment, of aloneness; ... it seems the natural, inevitable condition of man, and I welcome it ... I've been shaped to this mental stance by the kind of experience I have fallen heir to."

"I'm a rootless man, but I'm neither psychologically distraught nor in any wise particularly perturbed because of it. Personally, I do not hanker after, and seem not to need, as many emotional attachments, sustaining roots, or idealistic allegiances as most people. I declare unabashedly that I like and even cherish the state of abandonment, of aloneness; it does not bother me; indeed, to me it seems the natural, inevitable condition of man, and I welcome it. I can make myself at home almost anywhere on this earth and can, if I've a mind to and when I'm attracted to a landscape or a mood of life, easily sink myself into the most alien and widely differing environments."

"How can the spirit of the Enlightenment and the Reformation be extended now to all men?"