Story Quotes - page 91
A man who for a long time has gone around hiding a secret becomes mentally deranged. At this point one would imagine that his secret would have to come out, but despite his derangement his soul still sticks to its hideout, and those around him become even more convinced that the false story he told to deceive them is the truth. He is healed of his insanity, knows everything that has gone on, and thereby perceives that nothing has been betrayed. Was this gratifying to him or not; he might wish to have disposed of his secret in his madness; it seems as if there were a fate which forced him to remain in his secret and would not let him go away from it. Or was it for the best, was there a guardian spirit who helped him keep his secret.
Søren Kierkegaard
The host of specifically religious suggestions and images, in a story that until now has been devoid of such concern, suggests very strongly that Peake is here referring to the Christian religion as a debasing influence. Peake's treatment of Gormenghast's ritual shows that he dislikes any system of values imposed on the individual from outside, offering him nothing directly relevant for himself and encouraging him in whatever weakness he possesses. So, here, the Lamb can break down but not build; despite his worshipper's praise, he does not really understand how to keep his creatures alive. Still the Lamb glories in his power. True, in changing men he has destroyed them, denying them freedom to develop for themselves; to the Lamb, however, that is incidental to his own gratification.
Mervyn Peake
Here is a story of latifundia and death squads, masters and slaves, patriarchs and subordinated women, self-enriching capitalists and plundered provinces, profiteering slumlords and urban rioters. Here is a struggle between the plutocratic few and the indigent many, the privileged versus the proletariat, featuring corrupt politicians, money-driven elections, and the political assassination of popular leaders. I leave it to the reader to decide whether any of this might resonate with the temper of our own times.
Michael Parenti
In dialogue, I'm dealing with the sounds I've heard. One of the reasons I often write from first person or multiple points of view is to hear the voices of different characters. Omniscient narration becomes a problem because, for me, the omniscient is my own voice narrating the story and then bringing in characters for dialogue.
Ernest Gaines
[Regarding politicians]... like any group of people selected for ambition and nothing else, they turn out to be a pretty bad lot. Like mandarins in China, colonial administrators in the British Empire, lawyers in old North America, or the reconstruction agencies after the Slaughter -- individually there are decent people who do some good, but as a class they're amoral, vicious leeches with a good cover story.
John Barnes
Time-travel has a uniquely intimate, and seductively morbid, relationship to both fiction and history, because it scrambles the very principle of narrative order in profundity. If Western media authorities assumed the same role of cultural custodianship that has been traditional among their Chinese peers, they too might have been compelled to denounce a genre that flagrantly subverted the foundational principle of Aristotelian poetics: that any story worthy of veneration should have a beginning, a middle, and an end. If time-travel can occur, it seems (at least initially) that order is an illusion, so that fiction and reality switch places.
Nick Land
The story goes like this: Earth is captured by a technocapital singularity as renaissance rationalitization and oceanic navigation lock into commoditization take-off. Logistically accelerating techno-economic interactivity crumbles social order in auto-sophisticating machine runaway. As markets learn to manufacture intelligence, politics modernizes, upgrades paranoia, and tries to get a grip.
Nick Land
The dialogue is laughably cheesy throughout, but perhaps that's part of Basic Instinct's appeal. In fact, there are times when the film comes close to achieving a status where it's so bad it becomes entertaining. ... If you're looking for an intelligent thriller with real characters, Basic Instinct will seem like a fraud. If, on the other hand, you don't care whether the story makes sense and all you're in search of are cheap thrills and naked bodies, the movie delivers. Then again, so does a lot of Cinemax's late night programming.
James Berardinelli
Attack of the Clones displays some similarities to The Empire Strikes Back, but, overall, it is not as effective a piece of cinema (although the 2002 era special effects make it far more pleasing to the eye). Both films contain romantic subplots and are darker in tone than their predecessors. Both develop a number of unresolved plot elements. And both end on a note that incorporates hope with ambiguity. There is, however, one major difference. The Empire Strikes Back includes a shocking revelation. Nothing of that sort is present in Attack of the Clones. In terms of its plotting, this film is relatively straightforward. There's nothing wrong with that - in fact, it works. In a time when, more often than not, sequels disappoint, it's refreshing to uncover something this high-profile that fulfills the promise of its name and adds another title to a storied legacy.
James Berardinelli
The potential evidenced by [director James] Cameron in The Terminator - the ability to sustain suspense, meld action with story, and provide compelling characters despite the limitations of the actors portraying them - would be fully realized in two future features, Aliens and Terminator 2. This movie, however, is in some ways more impressive than either of those because of what the filmmaker was capable of achieving with a limited budget and without significant studio backing. The themes and ideas presented in The Terminator hold up well today, even though we have moved into the post-Cold War era and only the most nihilistic individuals could see 2029 in such bleak terms. It's a rousing science fiction story that proves an on-screen adrenaline rush need not short-circuit the brain.
James Berardinelli
Regardless of how Revenge of the Sith is received at the box office, it represents the conclusion to an unparalleled cinematic achievement. Finally, after 28 long years of waiting that were only occasionally punctuated by the appearance of new story fragments, Lucas has ended with an exclamation point. The tale of a galaxy long ago and far away is complete. Only now can we truly step back and admire the full tapestry that it has taken George Lucas and his ILM wizards nearly three decades to weave.
James Berardinelli
