Chronicle Quotes (displaying: 1 - 30 of 52 quotes )
And what is boredom? Perhaps the inability to find meaning, to complete a perception, to arrive at an understanding: partly grasped, but forever just out of reach. It is not lack of interest, but interest frustrated, cut off, imperfectly held. So says the Chronicle today. But for me it is the fear of emptiness.
And it was in the midst of shouts rolling against the terrace wall in massive waves that waxed in volume and duration, while cataracts of colored fire fell thicker through the darkness, that Dr. Rieux resolved to compile this chronicle, so that he should not be one of those who hold their peace but should bear witness in favor of those plague-stricken people; so that some memorial of the injustice and outrage done them might endure; and to state quite simply what we learn in time of pestilence: that there are more things to admire in men than to despise.
And as Lindbergh's election couldn't have made clearer to me, the unfolding of the unforeseen was everything. Turned wrong way round, the relentless unforeseen was what we schoolchildren studied as "History," harmless history, where everything unexpected in its own time is chronicled on the page as inevitable. The terror of the unforeseen is what the science of history hides, turning a disaster into an epic.
A comparably capacious embrace of beauty and pleasure - an embrace that somehow extends to death as well as life, to dissolution as well as creation - characterizes Montaigne's restless reflections on matter in motion, Cervantes's chronicle of his mad knight, Michelangelo's depiction of flayed skin, Leonardo's sketches of whirlpools, Caravaggio's loving attention to the dirty soles of Christ's feet.
The chronicler would abandon any idea of making a detailed report of all the other ills that are afflicting most of the nearly three hundred inmates being kept in this inhumane quarantine, but he could not fail to mention at least two cases of fairly advanced cancer, for the authorities had no humanitarian scruples when rounded up the blind and confining them here, they even stated that the laws once made is the same for everyone and that democracy is incompatible with preferential treatment. As cruel fate would have it, amongst all these inmates there is only one doctor, and an ophthalmologist at that, the last thing we need.
It is the fate of most men who mingle with the world, and attain even the prime of life, to make many real friends, and lose them in the course of nature. It is the fate of all authors or chroniclers to create imaginary friends, and lose them in the course of art. Nor is this the full extent of their misfortunes; for they are required to furnish an account of them besides.
Ever since the days when such formidable mediocrities as Galsworthy, Dreiser, Tagore, Maxim Gorky, Romain Rolland and Thomas Mann were being accepted as geniuses, I have been perplexed and amused by fabricated notions about so-called "great books." That, for instance, Mann's asinine "Death in Venice," or Pasternak's melodramatic, vilely written "Dr. Zhivago," or Faulkner's corn-cobby chronicles can be considered "masterpieces" or at least what journalists term "great books," is to me the sort of absurd delusion as when a hypnotized person makes love to a chair. My greatest masterpieces of twentieth century prose are, in this order: Joyce's "Ulysses"; Kafka's "Transformation"; Bely's "St. Petersburg," and the first half of Proust's fairy tale, "In Search of Lost Time.
So the price of careless rapture is a twisted history chronicled by envy. You were too busy being. And you are too busy now. You couldn't spare the time to note down a few facts: how the sun and silence poured into the big room with the yellow curtains; how everything was never-ending and expendable.
Now, Watson,” said Holmes, as a tall dog-cart dashed up through the gloom, throwing out two golden tunnels of yellow light from its side lanterns. “You’ll come with me, won’t you?” “If I can be of use.” “Oh, a trusty comrade is always of use; and a chronicler still more so. My room at The Cedars is a double-bedded one.
He was remembering the nights he'd sat upstairs with one or both of his boys or with his girl in the crook of his arm, their damp bath-smelling heads hard against his ribs as he read aloud to them from "Black Beauty" or "The Chronicles of Narnia". How his voice alone, its palpable resonance, had made them drowsy. These were evenings, and there were hundreds of them, maybe thousands, when nothing traumatic enough to leave a scar had befallen the nuclear unit. Evenings of plain vanilla closeness in his black leather chair; sweet evenings of doubt between the nights of bleak certainty. They came to him now, these forgotten counterexamples, because in the end, when you were falling into water, there was no solid thing to reach for but your children.
I would not choose to live in any age but my own; advances in medicine alone, and the consequent survival of children with access to these benefits, should preclude any temptation to trade for the past. But we cannot understand history if we saddle the past with pejorative categories based on our bad habits for dividing continua into compartments of increasing worth towards the present. These errors apply to the vast paleontological history of life, as much as to the temporally trivial chronicle of human beings. I cringe every time I read that this failed business, or that defeated team, has become a dinosaur is succumbing to progress. Dinosaur should be a term of praise, not opprobrium. Dinosaurs reigned for more than 100 million years and died through no fault of their own; Homo sapiens is nowhere near a million years old, and has limited prospects, entirely self-imposed, for extended geological longevity.
I was no conscious chronicler or witness of the events that unfolded in those times. Surely you understand. You must understand. Do you look thousands of years into the future? Do you measure what's happening to you now by what may matter a thousand years hence? I was stumbling and lurching, groping and from time to time drowning, as any man might.
Men and women are learning animals. If you do not see what they have learned, you're blind. They are creatures ever changing, ever improving, ever expanding their vision and the capacity of their hearts. You are not fair to them when you speak of this as the most bloody century; you are not seeing the light that shines ever more radiantly on account of the darkness; you are not. seeing the evolution of the human soul!… …True, what you say about war. Yes, and the cries of the dying, I too have heard them; we have all heard them, through all the decades; and even now, the world is shocked by daily reports of armed conflict. But it is the outcry against these horrors which is the light I speak of; it's the attitudes which were never possible in the past. It is the intolerance of thinking men and women in power who for the first time in the history of the human race truly want to put an end to injustice in all forms. -- Marius to Akasha (The Vampire Chronicles)
It is obvious enough for the reader to conclude, "She loves young Emerson." A reader in Lucy's place would not find it obvious. Life is easy to chronicle, but bewildering to practice, and we welcome "nerves" or any other shibboleth that will cloak our personal desire. She loved Cecil; George made her nervous; will the reader explain to her that the phrases should have been reversed?
Will a day come when the race will detect the funniness of these juvenilities and laugh at them--and by laughing at them destroy them? For your race, in its poverty, has unquestionably one really effective weapon--laughter. Power, Money, Persuasion, Supplication, Persecution--these can lift at a colossal humbug,--push it a little-- crowd it a little--weaken it a little, century by century: but only Laughter can blow it to rags and atoms at a blast. Against the assault of Laughter nothing can stand.- "The Chronicle of Young Satan," Mysterious Stranger Manuscripts
It is not only my dreams, my belief is that all these dreams are yours as well. The only distinction between me and you is that I can articulate them. And that is what poetry or painting or literature or filmmaking is all about... and it is my duty because this might be the inner chronicle of what we are. We have to articulate ourselves, otherwise we would be cows in the field.
[O]ne has to have endured a few decades before wanting, let alone needing, to embark on the project of recovering lost life. And I think it may be possible to review 'the chronicles of wasted time.' William Morris wrote in The Dream of John Ball that men fight for things and then lose the battle, only to win it again in a shape and form that they had not expected, and then be compelled again to defend it under another name. We are all of us very good at self-persuasion and I strive to be alert to its traps, but a version of what Hegel called 'the cunning of history' is a parallel commentary that I fight to keep alive in my mind.
there are quiet victories and struggles, great sacrifices of self, and noble acts of heroism, in it - even in many of its apparent lightnesses and contradictions - not the less difficult to achieve, because they have no earthly chronicle or audience - done every day in nooks and corners, and in little households, and in men's and women's hearts - any one of which might reconcile the sternest man to such a world, and fill him with belief and hope in it
The current generation now sees everything clearly, it marvels at the errors, it laughs at the folly of its ancestors, not seeing that this chronicle is all overscored by divine fire, that every letter of it cries out, that from everywhere the piercing finger is pointed at it, at this current generation; but the current generation laughs and presumptuously, proudly begins a series of new errors, at which their descendants will also laugh afterwards.