Tale Quotes - page 8
An artist is the magician put among men to gratify - capriciously - their urge for immortality. The temples are built and brought down around him, continuously and contiguously, from Troy to the fields of Flanders. If there is any meaning in any of it, it is in what survives as art, yes even in the celebration of tyrants, yes even in the celebration of nonentities. What now of the Trojan War if it had been passed over by the artist's touch? Dust. A forgotten expedition prompted by Greek merchants looking for new markets. A minor redistribution of broken pots. But it is we who stand enriched, by a tale of heroes, of a golden apple, a wooden horse, a face that launched a thousand ships - and above all, of Ulysses, the wanderer, the most human, the most complete of all heroes - husband, father, son, lover, farmer, soldier, pacifist, politician, inventor and adventurer.
Tom Stoppard
Sober, modern Occidental judgement is founded on a total misunderstanding of the realities depicted in the fairy tale, the myth, and the divine comedies of redemption. These, in the ancient world, were regarded as of a higher rank than tragedy, of a deeper truth, of a more difficult realization, of a sounder structure, and of a revelation more complete.
Joseph Campbell
God save King Robert! then, say I," vociferated Alan, eagerly grasping the knight's hand. "Sit, sit, Sir Knight; and for the love of heaven, speak more of this most wondrous tale. Erewhile, we hear of this goodly Earl of Carrick at Edward's court, doing him homage, serving him as his own English knight, and now in Scotland--aye, and Scotland's king. How may we reconcile these contradictions?
Grace Aguilar
Nothing ever begins.
There is no first moment; no single word or place from which this or any other story springs.
The threads can always be traced back to some earlier tale, and to the tales that preceded that: though as the narrator's voice recedes the connections will seem to grow more tenuous, for each age will want the tale told as if it were of its own making.
Thus the pagan will be sanctified, the tragic become laughable; great lovers will stoop to sentiment, and demons dwindle to clockwork toys.
Nothing is fixed. In and out the shuttle goes, fact and fiction, mind and matter woven into patterns that may have only this in common: that hidden amongst them is a filigree which will with time become a world.
It must be arbitrary then, the place at which we chose to embark.
Somewhere between a past half forgotten and a future as yet only glimpsed.
Clive Barker
As it turns out, Mailer comes close to solving the mystery [of Lee Harvey Oswald], but he never establishes the tragedy. Dreiser's tale was tragic and American because it happened every day. Oswald made only one notch in the calendar. It was meaningless; he just renamed an airport, violently.
...Oswald's life was not a cry of pain so much as a squawk for attention. He achieved geopolitical significance by the shortest possible route. He was not an example of post-modern absurdity but one of its messiahs: an inspiration to the glazed loner. He killed Kennedy not to impress Jodie Foster. He killed Kennedy to impress Clio - the muse of history.
Martin Amis
Death, he remembered somebody saying once, was a kind of victory. To have lived a long good life, a life of prodigious pleasure and minimal misery, and then to die; that was to have won. To attempt to hang on forever risked ending up in some as-yet-unglimpsed horror future. What if you lived forever and all that had gone before, however terrible things had sometimes appeared to be in the past, however badly people had behaved to each other throughout history, was nothing compared to what was yet to come? Suppose in the great book of days that told the story of everything, all the gone, done past was merely a bright, happy introduction compared to the main body of the work, an unending tale of unbearable pain scraped in blood on a parchment of living skin?
Better to die than risk that.
Live well and then die, so that the you that is you now can never be again, and only tricks can re-create something that might think it is you, but is not.
Iain Banks
It is dangerous these days for a male to write even glancingly on feminist themes. Did anyone attack Margaret Atwood's right to extrapolate religio-machismo in The Handmaid's Tale? Women writers appear vouchsafed insight into the souls of men-credit that seldom flows the other way. It is a sexist and offensive assumption, which does not advance understanding.
David Brin
When I had my own company on Traffic and Coonskin, all metaphors were able to get to the screen clearly. In Cool World, with the producer and Paramount watching me carefully to make sure I was in good taste, I instinctively poured stuff into the picture that I wanted to talk about. But when you force stuff, it's not really very clear. But, I have a great love for Max Fleischer, especially some of his Black & White Betty Boops with their strange Cab Calloway and Louis Armstrong black folk tale jazz hipness that part of Cool World was a homage in style to those films and that style of cartooning. The Grim Reaper is right out of a Max Fleischer cartoon or old Terrytoons, which is why I hired and love Milton Knight the artist. He understands totally the Uncle Remus fable like qualities behind Fleischer and Terrytoons. Milton Knight is probably the purest artist of that style in the business. He has a hard time because studios think he is old fashioned...but that's the point.
Ralph Bakshi
The Rev. Septimus Harding was, a few years since, a beneficed clergyman residing in the cathedral town of _____; let us call it Barchester. Were we to name Wells or Salisbury, Exeter, Hereford, or Gloucester, it might be presumed that something personal was intended; and as this tale will refer mainly to the cathedral dignitaries of the of the town in question, we are anxious that no personality may be suspected.
Anthony Trollope
Not to know the end of the tale filled me with a sense of emptiness, loss. I hungered for the sharp, frightening, breathtaking, almost painful excitement that the story had given me, and I vowed that as soon as I was old enough I would buy all the novels there were and read them to feed that thirst for violence that was in me, for intrigue, for plotting, for secrecy, for bloody murders.
Richard Wright
Consider the most famous pure dystopian tale of modern times, 1984, by George Orwell (1903-1950), published in 1948 (the same year in which Walden Two was published). I consider it an abominably poor book. It made a big hit (in my opinion) only because it rode the tidal wave of cold war sentiment in the United States.
Isaac Asimov
You know how a boy is. There comes a time for departure, a point where he sees confirmed the suspicion he'd had for some time that his father is not a god, not even a oracle. He sees that he no longer has any right to any such father. So Vheissu becomes a bedtime story or fairly tale after all, and the boy a superior version of his merely human father.
Thomas Pynchon
In its studies and learned colloquy, Faz saw and felt the tales of Men. They seemed curiously convoluted, revolving about Self. What mattered most to those who loved tales was how they concluded. Yet all Men knew how each ended. Their little dreams were rounded with a sleep.
So the point of a tale was not how it ended, but what it meant. The great inspiring epic rage of Man was to find that lesson, buried in a grave.
Gregory Benford
