Humanists

"Good habits, imperceptibly fixed, are far preferable to the precepts of reason; but, as this task requires more judgment than generally falls to the lot of parents, substitutes must be sought for, and medicines given, when regimen would have answered the purpose much better. I believe those who examine their own minds, will readily agree with me, that reason, with difficulty, conquers settled habits, even when it is arrived at some degree of maturity: why then do we suffer children to be bound with fetters, which their half-formed faculties cannot break. In writing the following work, I aim at perspicuity and simplicity of style; and try to avoid those unmeaning compliments, which slip from the tongue, but have not the least connexion with the affections that should warm the heart, and animate the conduct. By this false politeness, sincerity is sacrificed, and truth violated; and thus artificial manners are necessarily taught. For true politeness is a polish, not a varnish; and should rather be acquired by observation than admonition."

"I am a strange compound of weakness and resolution! However, if I must suffer, I will endeavour to suffer in silence. There is certainly a great defect in my mind — my wayward heart creates its own misery — Why I am made thus I cannot tell; and, till I can form some idea of the whole of my existence, I must be content to weep and dance like a child — long for a toy, and be tired of it as soon as I get it."

"Independence I have long considered as the grand blessing of life, the basis of every virtue; and independence I will ever secure by contracting my wants, though I were to live on a barren heath."

"About nine o'clock this morning the King passed by my window, moving silently along excepting now and then a few strokes on the drum, which rendered the stillness more awful through empty streets... I can scarcely tell you why, but an association of ideas made the tears flow insensibly from my eyes, when I saw Louis, sitting with more dignity than I expected from his character, in a hackney coach, going to meet death where so many of his race have triumphed... I have been alone ever since, and though my mind is calm, I cannot dismiss the lively images that have filled my imagination all the day. Nay, do not smile, but pity me; for once or twice, lifting my eyes from the paper, I have seen eyes glare through a glass door opposite my chair, and bloody hands shook at me... I wish I had even kept the cat with me! I want to see something alive; death, in so many frightful shapes, has taken hold of my fancy. I am going to bed, and for the first time in my life I cannot put out the candle."

"It may be confidently asserted that no man chooses evil because it is evil; he only mistakes it for happiness, the good he seeks. And the desire of rectifying these mistakes, is the noble ambition of an enlightened understanding, the impulse of feelings that Philosophy invigorates."

"She strove to reconcile integrity and sexual desire, the duties and needs of women, motherhood and intellectual life, domesticity and fame."

"Tyrants and sensualists are in the right when they endeavour to keep women in the dark, because the former want only slaves, and the latter a play-thing."

"A modest man is steady, an humble man timid, and a vain one presumptuous."

"Virtue can only flourish amongst equals."

"Nothing, I am sure, calls forth the faculties so much as the being obliged to struggle with the world; and this is not a woman's province in a married state. Her sphere of action is not large, and if she is not taught to look into her own heart, how trivial are her occupations and pursuits! What little arts engross and narrow her mind!"

"You know I am not born to tread in the beaten track — the peculiar bent of my nature pushes me on."

"Diversity was the encouragement of people to live together in harmony despite their differences and rejoice in the differences rather than deplore them."

"Roy Hattersley...returned to the smoke of battle in Westminster where he at once began to work actively for Callaghan. He called in Roy Jenkins's room to tell him ... Roy Hattersley told him why. His growing lack of sympathy with Jenkins's political position was reinforced by Jenkins's recent television broadcast saying that more than 60 per cent of national income devoted to public expenditure would lead to tyranny – quite the opposite of what Tawney and Crosland had written and Hattersley himself believed. Hattersley was supporting Callaghan for fear of ‘splitting the vote’ and letting Foot in."

"Until Roy Hattersley said he would shoot himself if I became prime minister, I had not been able to see any possible advantage in standing."

"In my opinion, any man who can afford to buy a newspaper should not be allowed to own one."

"Morality and expediency coincide more than the cynics allow."

"In politics, being ridiculous is more damaging than being extreme."

"The proposition that Muslims are welcome in Britain if, and only if, they stop behaving like Muslims is a doctrine which is incompatible with the principles that guide a free society."

"Not only was it wrong for us to deal superficially with what Europe involved but we've paid the price ever since, because every time there's a crisis in Europe, people say with some justification, "Well, we wouldn't have been part of this if we'd really known the implications." Joining the European Community did involve significant loss of sovereignty but by telling the British people that was not involved I think the rest of the argument was prejudiced for the next thirty years."

"Martin credits his experience in Hollywood for helping him hold out, saying that many of his fellow novelists end up in a situation where their books are changed dramatically. “Some of them come out of the premieres looking like their children have been gassed...but I can’t think of anyone other than Alan Moore who’s returned a check,” he says."

"Okay, when I said Alan Moore killed comics, I've probably got to qualify that. It's more that, in the 90s, comics committed suicide and it was Alan who handed them the rope."

"Chris Claremont once said of Alan Moore, "if he could plot, we'd all have to get together and kill him." Which utterly misses the most compelling part of Alan's writing, the way he develops and expresses ideas and character. Plot does not define story. Plot is the framework within which ideas are explored and personalities and relationships are unfolded. If all you want is plot, go and read a Tom Clancy novel."

"Reading Alan Moore makes me go weak at the knees."

""I think Anonymous doxed the Tunisian government, they released all their documents to the Tunisian people that kicked off the revolution,” he said. “And then Anonymous moved on to Egypt, where they did the same thing. And then they moved on to Syria, where it didn’t really go so well.”"

"Moore’s current focus is on exploring the nature of human experience. The 2016 book ‘Jerusalem’ was his magnum opus, explaining the ideas of eternalism, a view of reality not as something moving through time from past through present and into the future, but as a simultaneous permanent reality. “There is a persistent illusion of transience, that the shows that we used to love aren’t on television anymore, you can’t get those sweets that we used to enjoy when we were kids, that lovely building that we walked past every day, they pulled that down, our grandmothers, the people in the past who died, we’ll never see them again,” he explained."

"No, I think that everything is eternal. And so when our consciousness gets to the end of our lifespan, it has nowhere to go – so back to the beginning. And I believe that we have our lives over and over and over again. And it always feels like the first time. Unlike philosopher Friedrich Nietzsche, Moore is not horrified about the idea. On the contrary, he hopes it can help people to live without the fear of death and become better, since this theory encourages them to take every action with the knowledge that they will have to live with it forever. He said he sees his art as a vehicle to help people have positive transformative experiences. In that regard, he argued art can be as powerful as psychedelic drugs or magical practices, some of which Moore has tried throughout his life. “The useful ideas that people might find handy in getting through their lives, that might make it a better society, that surely is the only reason for doing any art,” he said. “Art is a wonderful, mystical, esoteric way of placing your thoughts into somebody else’s mind.”"

"He also mused that, as he was writing ‘V for Vendetta’ in 1981, he didn’t quite imagine how certain world-building elements he used would actually come true. One of the features of the novel’s 1997 dystopian society was all-pervasive government surveillance. Imagine my surprise when the Tony Blair Labour government – which was basically a different flavor of Conservative government... came into power in 1997 and immediately rolled out security cameras across the entire country. I wondered whether they had perhaps been enormous ‘V for Vendetta’ fans in their youth."

"“We don’t have a tradition of masked heroes really anywhere else in the world apart from America,” Moore said in an interview with RT’s Sophie Shevardnadze. “I mean, Guy Fawkes, who the ‘V for Vendetta’ mask is based upon – that wasn’t a mask, that was his face,” he said. Ditto for Robin Hood."

"In his interview with RT, Moore said he probably “was in a bad mood about comics” when he made the remark, but stood by his comparison of characters like Daredevil or Batman to the Klansmen riding to quash a black riot in the Griffith movie. “I think that there is something that possibly dates back to… the Ku Klux Klan intervention in ‘Birth of a Nation’, the idea of dressing up in a mask, so that what you do doesn’t get back to you,” Moore said."

""It is an everyday heroism to choose to do the right thing, rather than not to do the right thing. These are moments of heroism, and they're basically what hold the culture, the species together. Without them, we'd be nowhere. So they are vitally important. I'm all for heroes…" He was asked which of the heroes he has written is most like him. "It's all of them, that's what being a writer is. They are all facets of you, all of us have everyone inside us somewhere, it's a matter of searching through the files until you find the right one, boosting it a little bit… but they're all me, basically." And he also talked at length about how magic was the natural way of seeing the world, and that it was the origins of all modern culture "possibly aside from sport, which might have been the hunters showing off." And how "art and magic are both concerned with taking something that does not exist and bringing it into manifestation" before he is happy to admit that it may all be some psychotic delusion."

"If time is an illusion, then all movement and change are also illusions. So the only thing that gives us the illusion of movement and change and events and time is the fact that our consciousness is moving through this mass along the time axis. If you imagine it as a strip of celluloid, each of those individual cells is motionless. If they each represent a moment, they’re unchanging. They’re not going anywhere, but as the projector beam of our consciousness passes across them, it provides the illusion of movement, and narrative and cause and effect and circumstances."

"Yeah, our view of reality, the one we conventionally take, is one among many. It’s pretty much a fact that our entire universe is a mental construct. We don’t actually deal with reality directly. We simply compose a picture of reality from what’s going on in our retinas, in the timpani of our ears, and in our nerve endings. We perceive our own perception, and that perception is to us the entirety of the universe. I believe magic is, on one level, the willful attempt to alter those perceptions. Using your metaphor of an aperture, you would be widening that window or changing the angle consciously, and seeing what new vistas it affords you."

"Actually, art and magic are pretty much synonymous. I would imagine that this all goes back to the phenomenon of representation, when, in our primordial past, some genius or other actually flirted upon the winning formula of “This means that.” Whether “this” was a voice or “that” was a mark upon a dry wall or “that” was a guttural sound, it was that moment of representation. That actually transformed us from what we were into what we would be. It gave us the possibility, all of a sudden, of language. And when you have language, you can describe pictorially or verbally the strange and mystifying world that you see around you, and it’s probably not long before you also realize that, hey, you can just make stuff up. The central art of enchantment is weaving a web of words around somebody. And we would’ve noticed very early on that the words we are listening to alter our consciousness, and using the way they can transform it, take it to places we’ve never dreamed of, places that don’t exist."

"What had originally been a straightforward battle of ideas between anarchy and fascism had been turned into a kind of ham-fisted parable of 9-11 and the war against terror, in which the words anarchy and fascism appear nowhere. … It struck me that for Hollywood to make V for Vendetta, it was a way for thwarted and impotent American liberals to feel that they were making some kind of statement about how pissed off they were with the current situation without really risking anything. It’s all set in England, which I think that probably, in most American eyes, is kind of a fairytale kingdom where we still perhaps still have giants. It doesn’t really exist; it might as well be in the Land of Oz for most Americans. So you can get set your political parable in this fantasy environment called England, and then you can vent your spleen against George Bush and the neo-conservatives. Those were my feelings, and I must admit those are completely based upon not having seen the film even once, but having read a certain amount of the screenplay. That was enough."

"I would like to think that some of my work has opened up people’s thinking about certain areas. On a very primitive level, it would be nice to think that people thought a little bit differently about the comics medium as a result of my work, and saw greater possibility in it. And realized what a useful tool for disseminating information it was. That would be an accomplishment. That would have added a very useful implement to the arsenal of people who are seeking social change, because comics can be an incredibly useful tool in that regard. I’d also like to think that perhaps, on a higher level, that some of my work has the potential to radically change enough people’s ideas upon a subject. To perhaps, eventually, decades after my own death, affect some kind of minor change in the way that people see and organize society. Some of my magical work that I’ve done is an attempt to get people to see reality and it’s possibilities in a different light. I’d like to think that that might have some kind of impact eventually."

"I can remember one of the last conversations I had with my very dear and much missed friend, the writer Kathy Acker. This was very soon after I had just become interested and involved with magic. I was saying to her how the way I was then seeing things was that basically magic was about the last and best bastion of revolution. The political revolution, the sexual revolution, these things had their part and had their limits, whereas the idea of a magical revolution would revolve around actually changing people’s consciousnesses, which is to say, actually changing the nature of perceived reality. Kathy agreed with that completely — it sort of followed on some of her own experiences — and I still think that that is true. In some ways, magic is the most political of all of the areas that I’m involved with."

"Magic and art tend to share a lot of the same language. They both talk about evocation, invocation, and conjuring. If you’re trying to conjure a character, then maybe you should treat that with the respect that you would if you were trying to conjure a demon. Because if an image of a god is a god, then in some sense the image of a demon is a demon. I’m thinking of people like Malcolm Lowry, the exquisite author of Under the Volcano. There are kabbalistic demons that are lurking all the way through Under the Volcano, and I assume they were probably similar forces to the ones that eventually overwhelmed Lowry’s life, such as the drinking and the madness. When I hear alcoholics talk about having their demons, I think that they’re probably absolutely literally correct."

"I was talking earlier — about anarchy and fascism being the two poles of politics. On one hand you’ve got fascism, with the bound bundle of twigs, the idea that in unity and uniformity there is strength; on the other you have anarchy, which is completely determined by the individual, and where the individual determines his or her own life. Now if you move that into the spiritual domain, then in religion, I find very much the spiritual equivalent of fascism. The word “religion” comes from the root word ligare, which is the same root word as ligature, and ligament, and basically means “bound together in one belief.” It’s basically the same as the idea behind fascism; there’s not even necessarily a spiritual component it. Everything from the Republican Party to the Girl Guides could be seen as a religion, in that they are bound together in one belief. So to me, like I said, religion becomes very much the spiritual equivalent of fascism. And by the same token, magic becomes the spiritual equivalent of anarchy, in that it is purely about self-determination, with the magician simply a human being writ large, and in more dramatic terms, standing at the center of his or her own universe. Which I think is a kind of a spiritual statement of the basic anarchist position. I find an awful lot in common between anarchist politics and the pursuit of magic, that there’s a great sympathy there."

"The whole program of evolution seems to be to diversify, because in diversity there is strength. And if you apply that on a social level, then you get something like anarchy. Everybody is recognized as having their own abilities, their own particular agendas, and everybody has their own need to work cooperatively with other people. So it’s conceivable that the same kind of circumstances that obtain in a small human grouping, like a family or like a collection of friends, could be made to obtain in a wider human grouping like a civilization."

"Stories are at the absolute center of human existence. Sometimes to disastrous effect; if you think about how various ancient religious stories — that may have been intended at the time as no more than fables — have led to so many devastating wars up to and including the present day. Obviously there are some occasions when the fictions that we base our lives upon lead us into some terrifying territory."

"As to how politics relate to the storytelling process, I’d say that it’s probably in the same way that politics relate to everything. I mean, as the old feminist maxim used to go, “the personal is the political.” We don’t really live in an existence where the different aspects of our society are compartmentalized in the way that they are in bookshops. In a bookshop, you’ll have a section that is about history, that is about politics, that is about the contemporary living, or the environment, or modern thinking, modern attitudes. All of these things are political. All of these things are not compartmentalized; they’re all mixed up together. And I think that inevitably there is going to be a political element in everything that we do or don’t do. In everything we believe, or do not believe. I mean, in terms of politics I think that it’s important to remember what the word actually means. Politics sometimes sells itself as having an ethical dimension, as if there was good politics and bad politics. As far as I understand it, the word actually has the same root as the word polite. It is the art of conveying information in a politic way, in a way that will be discrete and diplomatic and will offend the least people. And basically we’re talking about spin. Rather than being purely a late 20th, early 21st century term, it’s obvious that politics have always been nothing but spin. But, that said, it is the system which is interwoven with our everyday lives, so every aspect our lives is bound to have a political element, including writing fiction."

"Fascism is a complete abdication of personal responsibility. You are surrendering all responsibility for your own actions to the state on the belief that in unity there is strength, which was the definition of fascism represented by the original roman symbol of the bundle of bound twigs. Yes, it is a very persuasive argument: “In unity there is strength.” But inevitably people tend to come to a conclusion that the bundle of bound twigs will be much stronger if all the twigs are of a uniform size and shape, that there aren’t any oddly shaped or bent twigs that are disturbing the bundle. So it goes from “in unity there is strength” to “in uniformity there is strength” and from there it proceeds to the excesses of fascism as we’ve seen them exercised throughout the 20th century and into the 21st. Now anarchy, on the other hand, is almost starting from the principle that “in diversity, there is strength,” which makes much more sense from the point of view of looking at the natural world. Nature, and the forces of evolution — if you happen to be living in a country where they still believe in the forces of evolution, of course — did not really see fit to follow that “in unity and in uniformity there is strength” idea. If you want to talk about successful species, then you’re talking about bats and beetles; there are thousands of different varieties of different bat and beetle."

"I suppose any form of art can be said to be propaganda for a state of mind. Inevitably, if you are creating a painting, or writing a story, you are making propaganda, in a sense, for the way that you feel, the way that you think, the way that you see the world. You are trying to express your own view of reality and existence, and that is inevitably going to be a political action—especially if your view of existence is too far removed from the mainstream view of existence. Which is how an awful lot of writers have gotten into terrible trouble in the past."

"Way back in the early 80s, when I was first kicking off writing V for Vendetta for the English magazine Warrior, the story was very much a result of me actually sitting down and thinking about what the real extreme poles of politics were. Because it struck me that simple capitalism and communism were not the two poles around which the whole of political thinking revolved. It struck me that two much more representative extremes were to be found in fascism and anarchy."

"When modern horror films or fundamentalists talk about “demons,” they mean something very different than what Socrates meant by the term. It was a lot closer to what I was talking about: the essential drive, the highest self, if you like. So maybe there is a connection, when I met, or appeared to meet, a demon. It was a little bit frightening at first, but after a while we found that we got on OK and we could have a civilized conversation, and I found him very engaging, very pleasant. And it struck me that this was a brilliant literal example of the process of demonization. That when I had approached the demon with fear and loathing, it was fearsome and loathsome. When I approached it with respect, then it was respectable. And I thought, All right, there’s a kind of mirroring that is going on here that is probably applicable to a wide number of social situations. The people or classes of people that we demonize, and that we treat with fear and loathing, respond accordingly. We are projecting a persona of manner of behavior upon them, as well as responding to a manner of behavior that’s already there. When we’re looking at the flaws in their personality that we are able to recognize, the fact that we can recognize them suggests that they are probably in some way a version of flaws that we have ourselves."

"As I understand the theory of period information doubling, this states that if we take one period of human information as being the time between the invention of the first hand axe, say around 50,000 BC and 1 AD, then this is one period of human information and we can measure it by how many human inventions we came up during that time. Then we see how long it takes for us to have twice as many inventions. This means that human information has doubled. As it turns out, after the first 50,000-year period, the second period is about 1500 years, say around the time of the Renaissance. By then we have twice as much information. To double again, human information took a couple of hundred years. The period speeds up—between 1960 and 1970, human information doubled. As I understand it, at the last count human information was doubling around every 18 months. Further to this, there is a point sometime around 2015 where human information is doubling every thousandth of a second. This means that in each thousandth of a second we will have accumulated more information than we have in the entire previous history of the world. At this point I believe that all bets are off. I cannot imagine the kind of culture that might exist after such a flashpoint of knowledge. I believe that our culture would probably move into a completely different state, would move past the boiling point, from a fluid culture to a culture of steam. ... Most people find the word "Apocalypse" to be a terrifying concept. Checked in the dictionary, it means only revelation, although it obviously has also come to mean end of the world. As to what the end of the world means, I would say that probably depends on what we mean by world. I don't think this means the planet, or even the life forms upon the planet. I think the world is purely a construction of ideas, and not just the physical structures, but the mental structures, the ideologies that we've erected, THAT is what I would call the world. Our political structures, philosophical structures, ideological frameworks, economies. These are actually imaginary things, and yet that is the framework that we have built our entire world upon. It strikes me that a strong enough wave of information could completely overturn and destroy all of that. A sudden realization that would change our entire perspective upon who we are and how we exist. History is a heat, it is the heat of accumulated information and accumulated complexity. As our culture progresses, we find that we gather more and more information and that we slowly start to move almost from a fluid to a vaporous state, as we approach the ultimate complexity of a social boiling point. I believe that our culture is turning to steam."

"Som-Som would later learn that the girl's name was Book. Ambiguous and suggestive sentences swirled out from the maroon bud of her nipple. Verses of elegant and cryptic passion followed the orbit of her left eye. Her fingers dripped with poetry."

"I suppose I first got involved in radical politics as a matter of course, during the late 1960s when it was a part of the culture. The counterculture, as we called it then, was very eclectic and all-embracing. It included fashions of dress, styles of music, philosophical positions, and, inevitably, political positions. And although there would be various political leanings coming to the fore from time to time, I suppose that the overall consensus political standpoint was probably an anarchist one. Although probably back in those days, when I was a very young teenager, I didn’t necessarily put it into those terms. I was probably not familiar enough with the concepts of anarchy to actually label myself as such. It was later, as I went into my twenties and started to think about things more seriously that I came to a conclusion that basically the only political standpoint that I could possibly adhere to would be an anarchist one. It furthermore occurred to me that, basically, anarchy is in fact the only political position that is actually possible. I believe that all other political states are in fact variations or outgrowths of a basic state of anarchy; after all, when you mention the idea of anarchy to most people they will tell you what a bad idea it is because the biggest gang would just take over. Which is pretty much how I see contemporary society. We live in a badly developed anarchist situation in which the biggest gang has taken over and have declared that it is not an anarchist situation – that it is a capitalist or a communist situation. But I tend to think that anarchy is the most natural form of politics for a human being to actually practice. All it means, the word, is no leaders. An-archon. No leaders. And I think that if we actually look at nature without prejudice, we find that this is the state of affairs that usually pertains."

"Ideas, unlike solid structures, do not perish. They remain immortal, immaterial and everywhere, like all Divine things. Ideas are a golden, savage landscape that we wander unaware, without a map. Be careful: in the last analysis, reality may be exactly what we think it is."

"The Here-and-Now demands attention, is more present to us. We dismiss the inner world of our ideas as less important, although most of our immediate physical reality originated only in the mind. The TV, sofa, clock and room, the whole civilisation that contains them once were nothing save ideas."