Christopher

“Another ideal runs ahead of us, a strange, tempting, dangerous ideal to which we should not wish to persuade anybody because we do not readily concede the right to it to anyone: the ideal of a spirit who plays naively - that is, not deliberately but from overflowing power and abundance - with all that was hitherto called holy, good, untouchable, divine; for whom those supreme things that the people naturally accept as their value standards, signify danger, decay, debasement, or at least recreation, blindness, and temporary self-oblivion; the ideal of a human, superhuman well-being and benevolence that will often appear inhuman - for example, when it confronts all earthly seriousness so far, all solemnity in gesture, word, tone, eye, morality, and task so far, as if it were their most incarnate and involuntary parody - and in spite of all of this, it is perhaps only with that great seriousness really begins, that the real question mark is posed for the first time, that the destiny of the soul changes, the hand moves forward, the tragedy begins.”
― Friedrich Nietzsche, The Gay Science: With a Prelude in Rhymes and an Appendix of Songs

“In the office in which I work there are five people of whom I am afraid. Each of these five people is afraid of four people (excluding overlaps), for a total of twenty, and each of these twenty people is afraid of six people, making a total of one hundred and twenty people who are feared by at least one person. Each of these one hundred and twenty people is afraid of the other one hundred and nineteen, and all of these one hundred and forty-five people are afraid of the twelve men at the top who helped found and build the company and now own and direct it.”
― Joseph Heller, Something Happened

“Nowhere is the hostility of the Anglo-American tradition toward the dialectical more apparent, however, than in the widespread notion that the style of these works is obscure and cumbersome, indigestible, abstract-or, to sum it all up in a convenient catchword, Germanic. It can be admitted that it does not conform to the canons of clear and fluid journalistic writing taught in the schools. But what if those ideals of clarity and simplicity have come to serve a very different ideological purpose, in our present context, from the one Descartes had in mind? What if, in this period of the overproduction of printed matter and the proliferation of methods of quick reading, they were intended to speed the reader across a sentence in such a way that he can salute a readymade idea effortlessly in passing, without suspecting that real thought demands a descent into the materiality of language and a consent to time itself in the form of the sentence?”
― Frederic Jameson

“Before Armand had granted me the esteem of which I have already spoken, I probably would not have betrayed him. The mere idea would have horrified me. So long as he had not given me his confidence, betraying him had no meaning: it meant simply obeying the elementary rule which governed my life. But now I loved him. I recognized his omnipotence. And though he might not love me, he contained me within him. His moral authority was so absolute, so generous, that it made intellectual rebellion within his bosom impossible. The only way I could prove my independence was by acting on the emotional level. The idea of betraying Armand set me aglow. I feared and loved him too much not to want to deceive and betray and rob him. I sensed the anxious pleasure that goes with sacrilege. If he were God (he had known pity), and had he been well pleased with me, it were sweet to deny him. And better still, that Stilitano, who did not love me and whom I would never have betrayed, should be helping me. His sharp personality aptly suggested the image of a dagger piercing the heart. The strength of the devil and his power over us lie in his irony. His seductiveness may be only his detachment. The force with which Armand denied the rules proved his own power—and the power of the rules over him. Stilitano smiled at them. His smile dissolved me. It was bold enough to express itself on a face of great beauty.”
― Jean Genet