The Fugitive Kind (1960)

The Fugitive Kind (1960)

“I see the fabric of my country’s rights and justices fraying and I see climate change advancing. There are terrible things about this moment and it’s clear that the consequences of climate change will get worse (though how much worse still depends on us). I also see that we never actually know how things will play out in the end, that the most unlikely events often occur, that we are a very innovative and resilient species, and that far more of us are idealists than is good for business and the status quo to acknowledge.”

Rebecca Solnit

Nothing But a Man (1964)

Nothing But a Man (1964)

“He had come to that moment in his age when there occurred to him, with increasing intensity, a question of such overwhelming simplicity that he had no means to face it. He found himself wondering if his life were worth the living; if it had ever been. It was a question, he suspected, that came to all men at one time or another; he wondered if it came to them with such impersonal force as it came to him. The question brought with it a sadness, but it was a general sadness which (he thought) had little to do with himself or with his particular fate; he was not even sure that the question sprang from the most immediate and obvious causes, from what his own life had become. It came, he believed, from the accretion of his years, from the density of accident and circumstance, and from what he had managed to acquire had led him to this knowledge: that in the long run all things, even the learning that let him know this, were futile and empty, and at last diminished into a nothingness they did not alter.”

–from Stoner by John Williams (p. 179)

On the Beach (1959)

On the Beach (1959)

“What I think we should do is collect and hesitate. I think hesitation itself is a deeply ecological act.” -Tim Morton

daisies

Daisies (1966)

“He sat there among them, listened to the buzz of their conversation. He was captivated by them. In that racket every voice touched a key in his soul. He didn’t understand life. He had no conception of why he had been born into the world. As he saw it, anyone to whose lot fell this adventure, the purpose of which was unknown but the end of which was annihilation, that person was absolved from all responsibility and had the right to do as he pleased—for example, to lie full length in the street and begin to moan without any reason—without deserving the slightest censure. But precisely because he considered his life as a whole an incomprehensible thing, he understood its little details individually—every person without exception, every elevated and lowly point of view, every concept—and those he assimilated at once.”
Deszö Kosztolányi, Kornél Esti (p. 74)

Everything For Sale (19)

Everything For Sale (1969)

“Our spread over the earth was fueled by reducing the higher species of vegetation to charcoal, by incessantly burning whatever would burn. From the first smoldering taper to the elegant lanterns whose light reverberated around eighteenth-century courtyards and from the mild radiance of these lanterns to the unearthly glow of the sodium lamps that line the Belgian motorways, it has all been combustion. Combustion is the hidden principle behind every artifact we create. The making of a fish-hook, manufacture of a china cup, or production of a television program all depend on the same process of combustion. Like our bodies and like our desires, the machines we have devised are possessed of a heart which is slowly reduced to embers. From the earliest times, human civilization has been no more that a strange luminescence growing more intense by the hour, of which no one can say when it will begin to wane and when it will fade away. For the time being, our cities still shine through the night, and the fires still spread.”

W.G. Sebald, Rings of Saturn (p. 170)

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