Blake

“Imaginary evil is romantic and varied; real evil is gloomy, monotonous, barren, boring. Imaginary good is boring; real good is always new, marvelous, intoxicating.”
― Simone Weil

“I ate and drank slowly as one should (cook fast, eat slowly) and without distractions such as (thank heavens) conversation or reading. Indeed eating is so pleasant one should even try to suppress thought. Of course reading and thinking are important but, my God, food is important too. How fortunate we are to be food-consuming animals. Every meal should be a treat and one ought to bless every day which brings with it a good digestion and the precious gift of hunger.”
― Iris Murdoch, The Sea, the Sea

“The argument from design, therefore, can be sustained only with the help of a supposedly a priori double-barrelled principle, that mental order (at least in a god) is self-explanatory, but that all material order not only is not self-explanatory, but is positively improbable and in need of further explanation...this double-barrelled principle is recognizable as the core of the cosmological argument...The argument will not take us even as far as Kant seems to allow without borrowing the a priori thesis that there is a vicious metaphysical contingency in all natural things, and, in contrast with this, the 'transcendental' concept of a god who is self-explanatory and necessarily existent. It is only with the help of these borrowings that the design argument can introduce the required asymmetry, that any natural explanation uses data which call for further explanation, but that the theistic explanation terminates the regress. Without this asymmetry, the design argument cannot show that there is any need to go beyond the sort of hypothesis that Hume foreshadowed and that Wallace and Darwin supplied... The dependence of the argument for design on the ideas that are the core of the cosmological one is greater than Kant realized.”
― J.L. Mackie, The Miracle of Theism: Arguments For and Against the Existence of God

“T. S. Eliot and Jean-Paul Sartre, dissimilar enough as thinkers, both tend to undervalue prose and to deny it any imaginative function. Poetry is the creation of linguistic quasi-things; prose is for explanation and exposition, it is essentially didactic, documentary, informative. Prose is ideally transparent; it is only faute de mieux written in words. The influential modern stylist is Hemingway. It would be almost inconceivable now to write like Landor. Most modern English novels indeed are not written. One feels they could slip into some other medium without much loss. It takes a foreigner like Nabokov or an Irishman like Beckett to animate prose language into an imaginative stuff in its own right.”
― Iris Murdoch