Nelzen > Nelzen's Quotes

“I
write because
I would like
to be used for
years after
my death.”
― Eileen Myles

“Watching the fragments float by for years.”
― Eileen Myles, Inferno

“You can't force a story that doesn't want to be told. It was that kind of year.”
― Eileen Myles (author)

“I hope you all find yourself sleeping with someone you love, maybe not all of the time, but a lot of the time. The touch of a foot in the night is sincere. I hope you like your work, I hope there's mystery and poetry in your life, not even poems, but patterns. I hope you can see them. Often these patterns will wake you up, and you will know that you are alive, again and again.”
― Eileen Myles

“It's a poor sort of memory that only works backwards,' says the White Queen to Alice.”
― Lewis Carroll, Alice’s Adventures in Wonderland / Through the Looking-Glass

“You shall know the truth and the truth shall make you mad.”
― Aldous Huxley

“I want to know what passion is. I want to feel something strongly.”
― Aldous Huxley, Brave New World

“An intellectual is a person who has discovered something more interesting than sex.”
― Aldous Huxley

“There are things known and there are things unknown, and in between are the doors of perception.”
― Aldous Huxley

“Every man's memory is his private literature.”
― Aldous Huxley

“I ate civilization. It poisoned me; I was defiled. And then," he added in a lower tone, "I ate my own wickedness.”
― Aldous Huxley, Brave New World

“To travel is to discover that everyone is wrong about other countries.”
― Huxley Aldous

“When we are young we are often puzzled by the fact that each person we admire seems to have a different version of what life ought to be, what a good man is, how to live, and so on. If we are especially sensitive it seems more than puzzling, it is disheartening. What most people usually do is to follow one person's ideas and then another's depending on who looms largest on one's horizon at the time. The one with the deepest voice, the strongest appearance, the most authority and success, is usually the one who gets our momentary allegiance; and we try to pattern our ideals after him. But as life goes on we get a perspective on this and all these different versions of truth become a little pathetic. Each person thinks that he has the formula for triumphing over life's limitations and knows with authority what it means to be a man, and he usually tries to win a following for his particular patent. Today we know that people try so hard to win converts for their point of view because it is more than merely an outlook on life: it is an immortality formula.”
― Ernest Becker, The Denial of Death

“Yet, at the same time, as the Eastern sages also knew, man is a worm and food for worms. This is the paradox: he is out of nature and hopelessly in it; he is dual, up in the stars and yet housed in a heart-pumping, breath-gasping body that once belonged to a fish and still carries the gill-marks to prove it. His body is a material fleshy casing that is alien to him in many ways—the strangest and most repugnant way being that it aches and bleeds and will decay and die. Man is literally split in two: he has an awareness of his own splendid uniqueness in that he sticks out of nature with a towering majesty, and yet he goes back into the ground a few feet in order to blindly and dumbly rot and disappear forever. It is a terrifying dilemma to be in and to have to live with. The lower animals are, of course, spared this painful contradiction, as they lack a symbolic identity and the self-consciousness that goes with it. They merely act and move reflexively as they are driven by their instincts. If they pause at all, it is only a physical pause; inside they are anonymous, and even their faces have no name. They live in a world without time, pulsating, as it were, in a state of dumb being. This is what has made it so simple to shoot down whole herds of buffalo or elephants. The animals don't know that death is happening and continue grazing placidly while others drop alongside them. The knowledge of death is reflective and conceptual, and animals are spared it. They live and they disappear with the same thoughtlessness: a few minutes of fear, a few seconds of anguish, and it is over. But to live a whole lifetime with the fate of death haunting one's dreams and even the most sun-filled days—that's something else.”
― Ernest Becker, The Denial of Death

“Man is literally split in two: he has an awareness of his own splendid uniqueness in that he sticks out of nature with a towering majesty, and yet he goes back into the ground a few feet in order blindly and dumbly to rot and disappear forever.”
― Ernest Becker, The Denial of Death

“Guilt results from unused life, from the unlived in us.”
― Ernest Becker, The Denial of Death

“We have become victims of our own art. We touch people on the outsides of their bodies, and they us, but we cannot get to their insides and cannot reveal our insides to them. This is one of the great tragedies of our interiority-it is utterly personal and unrevealable. Often we want to say something unusually intimate to a spouse, a parent, a friend, communicate something of how we are really feeling about a sunset, who we really feel we are-only to fall strangely and miserably flat. Once in a great while we succeed, sometimes more with one person, less or never with others. But the occasional break-through only proves the rule. You reach out with a disclosure, fail, and fall back bitterly into yourself.”
― Ernest Becker, The Birth and Death of Meaning: An Interdisciplinary Perspective on the Problem of Man

“Beyond a given point man is not helped by more “knowing,” but only by living and doing in a partly self-forgetful way. As Goethe put it, we must plunge into experience and then reflect on the meaning of it. All reflection and no plunging drives us mad; all plunging and no reflection, and we are brutes.”
― Ernest Becker, The Denial of Death

“Mother nature is a brutal bitch, red in tooth and claw, who destroys what she creates.”
― Ernest Becker, The Denial of Death

“The real world is simply too terrible to admit.
it tells man that he is a small trembling animal who will someday decay and die.
Culture changes all of this,makes man seem important,vital to the universe.
immortal in some ways”
― Ernest Becker

“The key to the creative type is that he is separated out of the common pool of shared meanings. There is something in his life experience that makes him take in the world as a problem; as a result he has to make personal sense out of it.”
― Ernest Becker, The Denial of Death

“Man cuts out for himself a manageable world: he throws himself into action uncritically, unthinkingly. He accepts the cultural programming that turns his nose where he is supposed to look; he doesn’t bite the world off in one piece as a giant would, but in small manageable pieces, as a beaver does. He uses all kinds of techniques, which we call the “character defenses”: he learns not to expose himself, not to stand out; he learns to embed himself in other-power, both of concrete persons and of things and cultural commands; the result is that he comes to exist in the imagined infallibility of the world around him. He doesn’t have to have fears when his feet are solidly mired and his life mapped out in a ready-made maze. All he has to do is to plunge ahead in a compulsive style of drivenness in the “ways of the world.”
― Ernest Becker, The Denial of Death

“One of the first signs of the beginning of understanding is the wish to die. This life appears unbearable, another unattainable. One is no longer ashamed of wanting to die; one asks to be moved from the old cell, which one hates, to a new one, which one willl only in time come to hate. In this there is also a residue of belief that during the move the master will chance to come along the corridor, look at the prisoner and say: "This man is not to be locked up again, He is to come with me.”
― Franz Kafka, The Blue Octavo Notebooks

“Everyone carries a room about inside him. This fact can even be proved by means of the sense of hearing. If someone walks fast and one pricks up one’s ears and listens, say in the night, when everything round about is quiet, one hears, for instance, the rattling of a mirror not quite firmly fastened to the wall.”
― Franz Kafka, The Blue Octavo Notebooks

“The observer of the soul cannot penetrate into the soul, but there doubtless is a margin where he comes into contact with it.”
― Franz Kafka, The Blue Octavo Notebooks

“Art flies around truth, but with the definite intention of not getting burnt. Its capacity lies in finding in the dark void a place where the beam of light can be intensely caught, without this having been perceptible before.”
― Franz Kafka, The Blue Octavo Notebooks

“How pathetically scanty my self-knowledge is compared with, say, my knowledge of my room.”
― Franz Kafka, The Blue Octavo Notebooks

“You can tell the lowest class by their habit of always talking about persons; the next, by the fact that their habit is always to converse about things; the highest, by their preference for the discussion of ideas.”
― Henry Thomas Buckle

“The faculty of art is to change events; the faculty of science is to foresee them. The phenomena with which we deal are controlled by art; they are predicted by science.”
― Henry Thomas Buckle

“Pain wanders through my bones like a lost fire”
― Theodore Roethke