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Absurdism Quotes

Browse 64 quotes about Absurdism.

Absurdism Quotes

“Men, too, secrete the inhuman. At certain moments of lucidity, the mechanical aspect of their gestures, their meaningless pantomime makes silly everything that surrounds them. A man is talking on the telephone behind a glass partition; you cannot hear him, but you see his incomprehensible dumb show: you wonder why he is alive. This discomfort in the face of man’s own inhumanity, this incalculable tumble before the image of what we are, this “nausea,” as a writer of today calls it, is also the absurd.”

“He pictures, ludicrously, a high-speed chase through the desert: he and Rio and Whale speeding towards the Polaris camp, with Juno in his probably stolen Fauxcedes barreling after them. Whale barks out the window as they leap over hillocks and take a hard turn into the scrub, howling a devil-may-care, Fuck you!”

“Practical affairs task the human brain throughout the day. At night, the mind takes a deserved hiatus to consider the impossible and the absurd. In the carnage of our nighttime sleep tussles, the colored liqueurs of the true, the possible, fantasy, and the mythic beliefs become intermixed. Eyelets of the commonsensical and the imaginative are incorporated, and a new realism emerges out of our distilled perception of the veridical derived from the phenomenal realm of sensory reality and the philosophic world of ideals contained in the noumenal realm. The resultant psychobiologic vision immerses us in bouts of intoxicating inspiration and artistic stimulation and leaves us rickety boned and weakened after enduring a dreaded hangover of perpetual doubt laced with vagueness and insecurity.”

“Here in Alpha City, we have a common saying: “What we call ‘sky’ is merely a figment of our narrative.” The most dreamy-eyed among us seem to adorn themselves and their aspirations in that proverb and you’ll see it everywhere: in advertisements on the sides of streetcars and auto-rickshaws, spelled out in studs and rhinestones on designer jackets, emblazoned in the intricate designs of facial tattoos—even painted on city walls by putrid vandals and inspiring street artists. There is something glorious about kneading out into the doughy firmament the depth and breadth of one’s own universe, in rendering the contours of a sky whose limits are predicated only upon the bounds of one’s own imagination. The fact of the matter is that we cannot see the natural sky at all here. It is something like a theoretical mathematical expression: like the square-root of ‘negative one’—certainly it could be said to have a purpose for existing, but to cast eyes upon it, in its natural quantity, would be something akin to casting one’s eyes upon the raw elements comprising our everyday sustenance. How many of us have even borne close witness to the minute chemical compounds that react to lend battery power to our portable electronics? The sky is indeed such a concealed fixture now. It is fair to say that we have purged our memories of its true face and so we can only approximate a canvas and project our desires upon it to our heart’s dearest fancy. The most cynical among us would ostensibly declare it an unavoidable tragedy, but perhaps even these hardened individuals could not remember the naked sky well enough to know if what they were missing was something worthwhile. Perhaps, it’s cynical of me to say so! In any case, we have our searchlights pointed upwards and crisscrossing that expanse of heavens as though to make some sensational and profane joke of ourselves to the surrounding universe. We beam already video images of beauty pageants and dancing contests with smiling mannequins who look like buffoons. And so, the face of space cloaks itself behind our light pollution—in this respect, our mirrored sidewalks and lustrous streets do little to help our cause—and that face remains hidden from us in its jeering ridicule, its mocking laughter at this inexorable farce of human existence.”

“One day you’ll be blind, like me. You’ll be sitting there, a speck in the void, in the dark, for ever, like me. One day you’ll say to yourself, I’m tired, I’ll sit down, and you’ll go and sit down. Then you’ll say, I’m hungry, I’ll get up and get something to eat. But you won’t get up. You’ll say, I shouldn’t have sat down, but since I have I’ll sit on a little longer, then I’ll get up and get something to eat. But you won’t get up and you won’t get anything to eat. You’ll look at the wall a while, and you’ll say, I’ll close my eyes, perhaps have a little sleep, after that I’ll feel better, and you’ll close them. And when you open them there’ll be no wall any more. Infinite emptiness will be all around you, all the resurrected dead of all the ages wouldn’t fill it, and there you’ll be like a little bit of grit in the middle of the steppe. Yes, one day you’ll know what it is, you’ll be like me, except that you won’t have anyone with you, because you won’t have had pity on anyone and because there ain’t be anyone left to have pity on.”

“To work and create “for nothing,” to sculpture in clay, to know that one’s creation has no future, to see one’s work destroyed in a day while being aware that fundamentally this has no more importance than building for centuries—this is the difficult wisdom that absurd thought sanctions. Performing these two tasks simultaneously, negating on the one hand and magnifying on the other, is the way open to the absurd creator. He must give the void its colors.”

“the God who holds everything together, that God is nothing more than time itself. Not a thinking, acting entity, a physical law. With which one can negotiate as little as one can with one's own fate. God is time, and time is not merciful. We are born, and our life is already trickling away like the sand in an hourglass. Death is forever inevitably before us. Our fate is nothing but a concatenation of cause and effect. In light and in shadow.”

“The very implausibility of the restoration of pared down fingernails and amputated limbs at the end of time underlines, for me, the despicableness of human beings who, in fact, torture and mutilate their fellow human beings. Yet, the implausible, even risible doctrine of the resurrection of the body asserts that—if there is such a thing as redemption—it must redeem our experience of enduring and even inflicting such acts. If there is meaning to the history we tell and the corruption (both moral and physical) we suffer, surely it is in (as well as in spite of) fragmentation. Bodily resurrection at the end of time is, in a technical sense, a comic—that is, a contrived and brave—happy ending.”

“I hated how sometimes life threw you a curveball—how you thought you were going to make some money selling a stolen tiger to make your dad proud, but then all the sudden there were drugs instead of money and then you were probably going to relapse mostly because you didn’t want to disappoint your best friend who had recently drawn a very funny cartoon about an octopus on your ass cheeks that would not come off your body no matter how hard you scrubbed.”

“I’m about to begin halfway saying that— —that she was incompetent. Incompetent for life. She had never figured out how to figure things out. She was only vaguely beginning to know the kind of absence she had of herself inside her. If she were an expressive creature she would say: the world is outside me, I am outside me.”

“U-2200 is a heavily worn, approximately egg-shaped 1.07-meter-tall monolith of tenasserite limestone inhabited by Gua, a non-corporeal entity that claims to be the prehistoric Johorean god of forgetting how to ride a bicycle. [...] U-2200 claims to have dwelled within the stone since its carving, more than 5,000 years ago. Exactly what U-2200 did between that time and the invention of the first actual bicycle in the 19th century is a matter of some debate. Consensus among Organization academics is that U-2200 did nothing, and probably did not exist in its present form. U-2200, however, claims that the bicycle has been invented dozens of times by cultures in all parts of the globe over the course of the past 5,000 years, only for U-2200 to engulf, consume, and negate all human knowledge not only of the riding of bicycles but of the mechanism of the bicycle, before lapsing back into dormancy. It calls this “the Bicyclecycle.”

“He walked into the spotlight. The crowd cheered. He waited. And then, with no warning, he let out a single, clear laugh. It came out of him like a floodgate bursting. High-pitched, joyous, real. He laughed until his face crumpled, until his knees gave way, until he collapsed to the floor. They thought it was the act. They laughed harder. Some stood. Some applauded. A child shouted, “Do it again!” But Bobo lay still. His rubber nose squeaked against the stage floor. His heart didn’t. The laughter swelled like an ocean, unknowing, unrelenting. The curtain dropped. Behind it, a small notebook fell from his jacket. It opened to a single scribbled line: “The joke was me.”

“Connectedness is the essence of everything...They sense that, of course, from time to time; have uneasy feelings that all they live by is nonsense. They have dim apprehensions that such propositions as 'God does not exist' are somewhat dubious at least in comparison with statements like 'All carnivorous cows eat meat.' That's where the Shaper saves them. Provides an illusion of reality—puts together all their facts with a gluey whine of connectedness. Mere tripe, believe me. Mere sleight-of-wits. He knows no more than they do about total reality—less, if anything: works with the same old clutter of atoms, the givens of his time and place and tongue. But he spins it all together with harp runs and hoots, and they think what they think is alive, think Heaven loves them. It keeps them going—for what that's worth.”

“These young people amaze me; drinking their coffee, they tell clear, plausible stories. If you ask them what they did yesterday, they don't get flustered; they tell you all about it in a few words. If I were in their place, I'd start stammering. It's true that for a long time now nobody has bothered how I spend my time. When you live alone, you even forget what it is to tell a story : plausibility disappears at the same time as friends.”

“The divine life does indeed grow in us even on earth, but we never reach full maturity; we never dispense with faith until we actually see God face to face. Now the question is: what is the relation between this divine life (and divine knowledge that we call faith) and human life (and human knowledge)? Some people have held that they are actually opposed to each other. You know that kind of person who thinks that you can't be a saint unless you're very slightly ill; this sort of person tends also to think that you can't have faith unless what you believe is humanly incredible. They think of faith not as a matter of knowing or of learning, but rather as a matter of courage, a leap into the unknown, a quixotic championing of the absurd. Now faith is certainly a leap into the unknown in the sense that what you believe is something that cannot be known by ordinary human power. But it is a leap which precisely tries to make this known. It is not a rejection of knowledge, it is an effort to know more - to get to know more by trusting in a teacher.”

“You’re better looking than me. You’re more intelligent than me. Your personality is more likable than mine. You make more money than me. Your family is nicer than mine. Your religion is better than mine. You’ve seen more beaches than me. You’ve been to more cities than me. Your automobile is nicer than mine. Your significant other is better looking than mine. Your candidate won. Your home team won. You’re number one. But life is a tie. We all die.”

“Space Boot Hill: The Urbane Frontier by Stewart Stafford Red hot, white hot, then what? Nostril fleas dancing at dawn, Creating Frankenstein rivals, Great Whites slumming as prawn. Melon farmers of the world unite! We like them big, ripe and juicy, See all the Vegans next Tuesday: Barbara, Doris, Amy and Lucy. And so we dodge the cosmic bullets, Of an Atraxis gunslinger, non-ritual dead, Playing possum, we slip away, Chiming life's aria, eternally spread. © 2024, Stewart Stafford. All rights reserved.”

“Life — for me — is neither good nor bad, neither a theory nor an idea. Life is a reality, and the reality of life is war. For one who is a born warrior, life is a fountain of joy, for others it is only a fountain of humiliation and sorrow. I no longer demand carefree joy from life. It couldn’t give it to me, and I would no longer know what to do with it now that my adolescence is past...”

“It seemed a ruse that fear of death should be the sole motivation for living and, yet, to quell this fear made the prospect of living itself seem all the more absurd; to extend this further, the notion of living one’s life for the purposes of pondering the absurdity of living was an even greater absurdity in and of itself, which thus, by reductio ad absurdum, rendered the fear of death a necessary function of life and any lack thereof, a trifling matter rooted in self-inflicted incoherence.”

“Princess Cookie’s cognitive pathways may have required a more comprehensive analysis. He knew that it was possible to employ certain progressive methods of neural interface, but he felt somewhat apprehensive about implementing them, for fear of the risks involved and of the limited returns such tactics might yield. For instance, it would be a particularly wasteful endeavor if, for the sake of exhausting every last option available, he were even to go so far as resorting to invasive Ontological Neurospelunkery, for this unorthodox process would only prove to be the cerebral equivalent of tracking a creature one was not even sure existed: surely one could happen upon some new species deep in the caverns somewhere and assume it to be the goal of one’s trek, but then there was a certain idiocy to this notion, as one would never be sure this newfound entity should prove to be what one wished it to be; taken further, this very need to find something, to begin with, would only lead one to clamber more deeply inward along rigorous paths and over unsteady terrain, the entirety of which could only be traversed with the arrogant resolve of someone who has already determined, with a misplaced sense of pride in his own assumptions, that he was undoubtedly making headway in a direction worthwhile. And assuming still that this process was the only viable option available, and further assuming that Morell could manage to find a way to track down the beast lingering ostensibly inside of Princess Cookie, what was he then to do with it? Exorcise the thing? Reason with it? Negotiate maybe? How? Could one hope to impose terms and conditions upon the behavior of something tracked and captured in the wilds of the intellect? The thought was a bizarre one and the prospect of achieving success with it unlikely. Perhaps, it would be enough to track the beast, but also to let it live according to its own inclinations inside of her. This would seem a more agreeable proposition. Unfortunately, however, the possibility still remained that there was no beast at all, but that the aberration plaguing her consciousness was merely a side effect of some divine, yet misunderstood purpose with which she had been imbued by the Almighty Lord Himself. She could very well have been functioning on a spiritual plane far beyond Morell’s ability to grasp, which, of course, seared any scrutiny leveled against her with the indelible brand of blasphemy. To say the least, the fear of Godly reprisal which this brand was sure to summon up only served to make the prospect of engaging in such measures as invasive Ontological Neurospelunkery seem both risky and wasteful. And thus, it was a nonstarter.”

“Aubergine, Auberga, Life Goes On by Stewart Stafford The Devil is in the oxtails, A foetus lacking the superb, Granny Smith or Granny Shit, Modulation without the reverb. A penguin picked up gingerly, Unaware what had hit his ice, A Matterhorn tuxedo Cha-Cha, Casinoed fits from tumbling dice. O, to have knees of broccoli! Each eye a glittering ruby grape, A peacenik parsley neck surrender, Florid garnish to an eggplant nape. Forgive me if I go daydreaming, Your déjà vu’s recurring nightmare, An offer of hunger strike insomnia, A gun-to-the-head vigil with flair. © 2026, Stewart Stafford. All rights reserved.”

“Bizzaro Time by Stewart Stafford I took dawn selfies on a bridge, Geneva worms conferred in slime, A woman's dog slithered serpentine, It snapped and hissed in bizarro time. A businessman's briefcase in flight, Went public in a philanthropist sky, Umbrellas blossomed into trees, Peacenik pigeon medal caught the eye. Coffee shops served liquid light, Brewed up pagan code of yore, Pedestrians' morphed molten form, Glass-blown in tangerine pour. We shared loop shrugs, muted pleas, Sober intoxication's escapist twist, A uniquely-marketed Tuesday morn, Dreamt up to commodify every tryst. © 2025, Stewart Stafford. All rights reserved.”

“The Almighty Jar by Stewart Stafford Protestors in the street chanted: "Crackpot!" Mocking supreme leader The Almighty Jar, Rattling it into swift and oleaginous action, It flipped its lid and sought vengeance. The jar ordered its troops to open fire, On the defiant yet unarmed crowd, But the army flatly refused to obey, Until the jar started oozing sneakily. Too late came a decree that military personnel, Smear Deindividuation serum on themselves, Freedom fighters stormed the jar's shelf palace, Smashing it and replacing it with an urn. © 2021, Stewart Stafford. All rights reserved.”

“He paused as his eyes went Elsewhere. His mouth hung open uncharacteristically in an odd moment of hesitation. But then he spoke: “I dreamt one night that I stood before the Conjurer of All. I do not know if this Conjurer was God, per se , but let us entertain the possibility that there exists, at least encoded in the patterned mechanisms of the human mind, a necessary and indelible embodiment therein that is simultaneously the Creator of the Universe and the Forger of All Things Within It The Knower of All there is to Know, to say the least. I stood uncomfortably before such an entity and this Conjurer spoke thus, ‘Seeker of Truth!’ His words were oppressive, yet assuring, ‘Now it can all be told! Now you may have all the answers you seek. All the answers of the Universe!’ This proclamation only satisfied me briefly, for I almost immediately found myself responding, ‘Dear Conjurer, I do not wish to sound ungrateful, but instead of all the answers, may I not have more questions? An endless supply even? For all else would seem insufficient. I could never face a world that lacked mystery.’ The Maker laughed as though I had told the only joke in the Universe in which he could find humor. I awoke immediately, out of breath, for I, too, had been laughing.”

“The Coach’s head was oblong with tiny slits that served as eyes, which drifted in tides slowly inward, as though the face itself were the sea or, in fact, a soup of macromolecules through which objects might drift, leaving in their wake, ripples of nothingness. The eyes—they floated adrift like land masses before locking in symmetrically at seemingly prescribed positions off-center, while managing to be so closely drawn into the very middle of the face section that it might have seemed unnecessary for there to have been two eyes when, quite likely, one would easily have sufficed. These aimless, floating eyes were not the Coach’s only distinctive feature—for, in fact, connected to the interior of each eyelid by a web-like layer of rubbery pink tissue was a kind of snout which, unlike the eyes, remained fixed in its position among the tides of the face, arcing narrowly inward at the edges of its sharp extremities into a serrated beak-like projection that hooked downward at its tip, in a fashion similar to that of a falcon’s beak. This snout—or beak, rather—was, in fact, so long and came to such a fine point that as the eyes swirled through the soup of macromolecules that comprised the man’s face, it almost appeared—due to the seeming thinness of the pink tissue—that the eyes functioned as kinds of optical tether balls that moved synchronously across the face like mirror images of one another. 'I wore my lizard mask as I entered the tram, last evening, and people found me fearless,' the Coach remarked, enunciating each word carefully through the hollow clack-clacking sound of his beak, as its edges clapped together. 'I might have exchanged it for that of an ox and then thought better. A lizard goes best with scales, don’t you think?' Bunnu nodded as he quietly wondered how the Coach could manage to fit that phallic monstrosity of a beak into any kind of mask, unless, in fact, this disguise of which he spoke, had been specially designed for his face and divided into sections in such a way that they could be readily attached to different areas—as though one were assembling a new face—in overlapping layers, so as to veil, or perhaps even amplify certain distinguishable features. All the same, in doing so, one could only imagine this lizard mask to be enormous to the extent that it would be disproportionate with the rest of the Coach’s body. But then, there were ways to mask space, as well—to bend light, perhaps, to create the illusion that something was perceptibly larger or smaller, wider or narrower, rounder or more linear than it was in actuality. That is to say, any form of prosthesis designed for the purposes of affecting remedial space might, for example, have had the capability of creating the appearance of a gap of void in occupied space. An ornament hangs from the chin, let’s say, as an accessory meant to contour smoothly inward what might otherwise appear to be hanging jowls. This surely wouldn’t be the exact use that the Coach would have for such a device—as he had no jowls to speak of—though he could certainly see the benefit of the accessory’s ingenuity. This being said, the lizard mask might have appeared natural rather than disproportionate given the right set of circumstances. Whatever the case, there was no way of even knowing if the Coach wasn’t, in fact, already wearing a mask, at this very moment, rendering Bunnu’s initial appraisal of his character—as determined by a rudimentary physiognomic analysis of his features—a matter now subject to doubt. And thus, any conjecture that could be made with respect to the dimensions or components of a lizard mask—not to speak of the motives of its wearer—seemed not only impractical, but also irrelevant at this point in time.”