Fashion Quotes - page 73
There were a lot of utopias in the nineteenth century, wonderful societies that we might possibly construct. Those went pretty much out of fashion after World War I. And almost immediately one of the utopias that people were trying to construct, namely the Soviet Union, threw out a writer called Zamyatin who wrote a seminal book called We, which contains the seeds of Orwell and Huxley. Writers started doing dystopias after we saw the effects of trying to build utopias that required, unfortunately, the elimination of a lot of people before you could get to the perfect point, which never arrived. ... I don't believe in a perfect world. I don't believe it's achievable, and I believe the people who try to achieve it usually end up turning it into something like Cambodia or something very similar because purity tests set in. Are you ideologically pure enough to be allowed to live? Well, it turns out that very few people are, so you end up with a big powerful struggle and a mass killing scene.
Margaret Atwood
At present the fashion appears to have set in in favour of two very distinct styles. One is a very impure and bastard Italian, which is used in most large secular buildings; and the other is a variety of the architecture of the thirteenth century, often, I am sorry to say, not much purer than its rival, especially in the domestic examples, although its use is principally confined to ecclesiastical edifices. It is needless to say that the details of these two styles are as different from each other as light from darkness, but still we are expected to master both of them. But it is most sincerely to be hoped that in course of time one or both of them will disappear, and that we may get something of our own of which we need not be ashamed. This may, perhaps, take place in the twentieth century, it certainly, as far as I can see, will not occur in the nineteenth.
William Burges
The artefacts of a genius are distinguished by rich human content, for which he forges new images and new techniques, creates new styles. He sees himself as a unique eruption in the desert of the banal. He feels himself mysteriously inspired or possessed. The craftsman, on the other hand, is content to use the traditional materials and techniques. The more self-possessed he is, the better craftsman he will be. What pleases him is skill of execution. He is very concerned with his contemporary success, his market value. If a certain kind of political commitment is fashionable, he may be committed; but out of fashion, not conviction. The genius, of course, is largely indifferent to contemporary success; and his commitment to his ideals, both artistic and political, is profoundly, Byronically, indifferent to their contemporary popularity.
John Fowles
She said: My Lord! How can I have a child when no mortal hath touched me? He said: So (it will be). Allah createth what He will. If He decreeth a thing, He saith unto it only: Be! and it is.
And He will teach him the Scripture and wisdom, and the Torah and the Gospel,
And will make him a messenger unto the Children of Israel, (saying): Lo! I come unto you with a sign from your Lord. Lo! I fashion for you out of clay the likeness of a bird, and I breathe into it and it is a bird, by Allah's leave. I heal him who was born blind, and the leper, and I raise the dead, by Allah's leave. And I announce unto you what ye eat and what ye store up in your houses. Lo! herein verily is a portent for you, if ye are to be believers.
And (I come) confirming that which was before me of the Torah, and to make lawful some of that which was forbidden unto you. I come unto you with a sign from your Lord, so keep your duty to Allah and obey me.
Jesus Christ
If we are to retain the freedom of our society, we in this House must try to understand the many forces at work, the excessive permissiveness in some schools which has led to lack of self-discipline, the attitudes and the management at some secondary schools, the deliberate subversion that goes on at some schools, the exploitation and glamorisation of violence in many films and on television, and the licensed obscenities permitted, very wrongly, some years ago by the BBC. I am reminded of the poignant words of Caliban to Prospero: "You taught me language and my profit on't is I know how to curse." That seems, alas, appropriate to some of our school children. Behind all these manifestations there is a mindless fashion for revolution.
Keith Joseph