Ming

“I am always amazed, in myself and in other women, at the strength of our need to bolster men up. This is ironical, living as we do in a time of men’s criticizing us for being ‘castrating’, etc., — all the other words and phrases of the same kind. (Nelson says his wife is ‘castrating’ — this makes me angry, thinking of the misery she must have lived through.) For the truth is, women have this deep instinctive need to build a man up as a man. Molly for instance. I suppose this is because real men become fewer and fewer, and we are frightened, trying to create men.”
― Doris Lessing, The Golden Notebook

“Finally, if you attempt to read this without working through a significant number of exercises (see §0.0.1), I will come to your house and pummel you with [Gr-EGA] until you beg for mercy. It is important to not just have a vague sense of what is true, but to be able to actually get your hands dirty. As Mark Kisin has said, “You can wave your hands all you want, but it still won’t make you fly.”
― Ravi Vakil, Foundations of Algebraic Geometry

“The nightmare takes various forms, comes in sleep, or in wakefulness, and can be pictured most simply like this: There is a blindfolded man standing with his back to the brick wall. He has been tortured nearly to death. Opposite him are six men with their rifles raised ready to shoot, commanded by a seventh, who has his hand raised, When he drops his hand, the shots will ring out, and the prisoner will fall dead. But suddenly there is something unexpected—yet not altogether unexpected, for the seventh has been listening all this while in case it happens. There is an outburst of shouting and fighting in the street outside. The six men look in query at their officer, the seventh. The officer stands waiting to see how the fighting outside will resolve itself. There is a shout: ‘We have won!’ At which the officer crosses the space to the wall, unties the bound man, and stands in his place. The man, hitherto bound, now binds the other. There is a moment, and this is the moment of horror in the nightmare, when they smile at each other: It is a brief, bitter, accepting smile. They are brothers in that smile. The smile holds a terrible truth that I want to evade. Because it cancels all creative emotion. The offer, the seventh, now stands blindfolded and waiting with his back to the wall. The former prisoner walks to the firing squad who are still standing with their weapons ready. He lifts his hand, then drops it. The shots ring out, and the body by the wall falls twitching. The six soldiers are shaken and sick; now they will go and drink to drown the memory of their murder. But the man who was bound, is now free, smiles as they stumble away, cursing and hating him, just as they would have cursed and hated the other, now dead. And in this man’s smile at the six innocent soldiers there is a terrible understanding irony. This is the nightmare.”
― Doris Lessing, The Golden Notebook

“Be completely fearless. [...]Write without constraints, or worrying about who you represent, or whether you should represent anyone, or who your audience is, or what you can or can't do with a female character, or a black character, or someone of restricted growth, or someone who's hugely fat. You must write total confidence that the fiction is its own justification.”
― Zadie Smith