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N Quotes

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All N Quotes

“Never have I enjoyed youth so thoroughly as I have in my old age. In writing Dialogues in Limbo, The Last Puritan, and now all these descriptions of the friends of my youth and the young friends of my middle age, I have drunk the pleasure of life more pure, more joyful than it ever was when mingled with all the hidden anxieties and little annoyances of actual living. Nothing is inherently and invincibly young except spirit. And spirit can enter a human being perhaps better in the quiet of old age and dwell there more undisturbed than in the turmoil of adventure.”

“Never have I thought so much, never have I realised my own existence so much, been so much alive, been so much myself ... as in those journeys which I have made alone and afoot. Walking has something in it which animates and heightens my ideas: I can scarcely think when I stay in one place ; my body must be set a-going if my mind is to work. The sight of the country, the succession of beautiful scenes ... releases my soul, gives me greater courage of thought, throws me as it were into the midst of the immensity of the objects of Nature ... my heart, surveying one object after another, unites itself, identifies itself with those in sympathy with it, surrounds itself with delightful images, intoxicates itself with emotions the most exquisite.”

“Never have I witnessed such sincere hospitality and the overwhelming spirit of true brotherhood as is practiced by people of all colours and races here in this ancient Holy Land, the home of Abraham, Muhammad, and all the other prophets of the Holy Scriptures. For the past week, I have been utterly speechless and spellbound by the graciousness I see displayed all around me by people of all colours.”

“Never having experienced inequality, therefore, the majority of straight white men will be absolutely oblivious to their own advantages – not because they must necessarily be insensitive, sexist, racist, homophobic or unaware of the principles of equality; but because they have been told, over and over again, that there is no inequality left for them – or anyone else – to experience – and everything they have experienced up to that point will only have proved them right. Let the impact of that sink in for a moment. By teaching children and teenagers that equality already exists, we are actively blinding the group that most benefits from inequality – straight white men – to the prospect that it doesn’t. Privilege to them feels indistinguishable from equality, because they’ve been raised to believe that this is how the world behaves for everyone. And because the majority of our popular culture is straight-white-male-dominated, stories that should be windows into empathy for other, less privileged experiences have instead become mirrors, reflecting back at them the one thing they already know: that their lives both are important and free from discrimination. And this hurts men. It hurts them by making them unconsciously perpetrate biases they’ve been actively taught to despise. It hurts them by making them complicit in the distress of others. It hurts them by shoehorning them into a restrictive definition masculinity from which any and all deviation is harshly punished. It hurts them by saying they will always be inferior parents and caregivers, that they must always be active and aggressive even when they long for passivity and quietude, that they must enjoy certain things like sports and beer and cars or else be deemed morally suspect. It hurts them through a process of indoctrination so subtle and pervasive that they never even knew it was happening , and when you’ve been raised to hate inequality, discovering that you’ve actually been its primary beneficiary is horrifying – like learning that the family fortune comes from blood money. Blog post 4/12/2012: Why Teaching Equality Hurts Men”

“Never having thought of writing for the guitar, I asked Julian Bream for a chart which would explain what the guitar could do. I managed to write some rather pretty pieces for him, except that the first six notes of the first piece all need to be played on open strings. So when he begins to play the audience will probably think he's tuning the bloody thing up!”