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Yet this turn from belief to aesthetics, from engagement to spectatorship, is held to be one of the virtues of capitalist realism. In claiming, as Badiou puts it, to have ‘delivered us from the “fatal abstractions” inspired by the
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“I found myself remembering the day in kindergarten when the teachers showed us Dumbo, and I realized for the first time that all the kids in the class, even the bullies, rooted for Dumbo, against Dumbo's tormentors. Invariably they laughed and cheered, both when Dumbo succeeded and when bad things happened to his enemies. But they're you, I thought to myself. How did they not know? They didn't know. It was astounding, an astounding truth. Everyone thought they were Dumbo.”
― The Idiot
― The Idiot
“I do things like get in a taxi and say, "The library, and step on it.”
― Infinite Jest
― Infinite Jest
“Extreme violence has a way of preventing us from seeing the interests it serves.”
― The Shock Doctrine: The Rise of Disaster Capitalism
― The Shock Doctrine: The Rise of Disaster Capitalism
“They were lovebirds. They entertained each other endlessly with little gifts: sights worth seeing out the plane window, amusing or instructive bits from things they read, random recollections of times gone by. They were, I think, a flawless example of what Bokonon calls a duprass, which is a karass composed of only two persons.”
― Cat’s Cradle
― Cat’s Cradle
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