React Quotes (displaying: 1 - 30 of 266 quotes )
And as for the Ellison Fellow's feelings towards Katherine Potter--to be honest, they involve a good deal of confusion. He reacts before Katherine Potter, in fact, as he has reacted before all new, strange (attractive) women who happen, since a certain event, to have crossed his path. He does not know how to deal with them. He is filled with dismay, a giddy sense of arbitrariness, an apprehension that the universe holds nothing sacred; all of which is only to be stilled by the imperative of loyal resistance. He is not immune to the prickle of passing lust. But he deals defensively with it. He reacts either with disdainful dismissal (Not your type, definitely not your type) or with a rampant if covert seizure of lecherousness (Christ, what tits! What legs! What an arse!), which serves the same forestalling function by reducing its object to meat and its subject (he is past fifty, after all) to a pother of shame.
God is the only comfort, He is also the supreme terror: the thing we most need and the thing we most want to hide from. He is our only possible ally, and we have made ourselves His enemies. Some people talk as if meeting the gaze of absolute goodness would be fun. They need to think again. They are still only playing with religion. Goodness is either the great safety or the great danger - according to the way you react to it. And we have reacted the wrong way.
Now there is a final reason I think that Jesus says, "Love your enemies." It is this: that love has within it a redemptive power. And there is a power there that eventually transforms individuals. Just keep being friendly to that person. Just keep loving them, and they can’t stand it too long. Oh, they react in many ways in the beginning. They react with guilt feelings, and sometimes they’ll hate you a little more at that transition period, but just keep loving them. And by the power of your love they will break down under the load. That’s love, you see. It is redemptive, and this is why Jesus says love. There’s something about love that builds up and is creative. There is something about hate that tears down and is destructive. So love your enemies. (from "Loving Your Enemies")
We live together, we act on, and react to, one another; but always and in all circumstances we are by ourselves. The martyrs go hand in hand into the arena; they are crucified alone. Embraced, the lovers desperately try to fuse their insulated ecstasies into a single self-transcendence; in vain. By its very nature every embodied spirit is doomed to suffer and enjoy in solitude. Sensations, feelings, insights, fancies—all these are private and, except through symbols and at second hand, incommunicable. We can pool information about experiences, but never the experiences themselves. From family to nation, every human group is a society of island universes.
Television's perfect. You turn a few knobs, a few of those mechanical adjustments at which the higher apes are so proficient, and lean back and drain your mind of all thought. And there you are watching the bubbles in the primeval ooze. You don't have to concentrate. You don't have to react. You don't have to remember. You don't miss your brain because you don't need it. Your heart and liver and lungs continue to function normally. Apart from that, all is peace and quiet. You are in the man's nirvana. And if some poor nasty minded person comes along and says you look like a fly on a can of garbage, pay him no mind. He probably hasn't got the price of a television set.
Are they real fires? Or are people just reacting to something? Just because there’s an alarm going doesn’t mean it’s a fire. And I think that people are confusing the two. It’s only a fire when it offends the fans, and the fans turn on you. Tosh has fans, and they get the joke. If you’ve watched enough Tracy Morgan, you let the worst thing go by. When did Tracy Morgan become Walter Cronkite? You have to mean something to me to offend me. You can’t break up with me if we don’t date.
It surprised him that she was the one who looked stricken with fear, as if she were a prisoner in the passenger seat and saw the fast-approaching collision seconds before the drive could react to it. Bonnie pinched her lower lip with her teeth and stared at Jack as if she were transfixed--as if he were the upcoming accident, and, even though she saw him coming, she couldn't turn away.
Television, radio, and all the sources of amusement and information that surround us in our daily lives are also artificial props. They can give us the impression that our minds are active, because we are required to react to stimuli from the outside. But the power of those external stimuli to keep us going is limited. They are like drugs. We grow used to them, and we continuously need more and more of them. Eventually, they have little or no effect. Then, if we lack resources within ourselves, we cease to grow intellectually, morally, and spiritually. And we we cease to grow, we begin to die.
Lucy was suffering from the most grievous wrong which this world has yet discovered: diplomatic advantage had been taken of her sincerity, of her craving for sympathy and love. Such a wrong is not easily forgotten. Never again did she expose herself without due consideration and precaution against rebuff. And such a wrong may react disastrously upon the soul.
Some people react physically to the magic of poetry, to the moments, that is, of authentic revelation, of the communication, the sharing, at its highest level...A good poem is a contribution to reality. The world is never the same once a good poem has been added to it. A good poem helps to change the shape and significance of the universe, helps to extend everyone's knowledge of himself and the world around him.
Our inward power, when it obeys nature, reacts to events by accommodating itself to what it faces - to what is possible. It needs no specific material. It pursues its own aims as circumstances allow; it turns obstacles into fuel. As a fire overwhelms what would have quenched a lamp. What's thrown on top of the conflagration is absorbed, consumed by it - and makes it burn still higher.
It was at a conference in Cyprus in 1976, where the theme was the rights of small nations, that I first met Edward Said. It was impossible not to be captivated by him: of his many immediately seductive qualities I will start by mentioning a very important one. When he laughed, it was as if he was surrendering unconditionally to some guilty pleasure. At first the very picture of professorial rectitude, with faultless tweeds, cravats, and other accoutrements (the pipe also being to the fore), he would react to a risqu remark, or a disclosure of something vaguely scandalous, as if a whole Trojan horse of mirth had been smuggled into his interior and suddenly disgorged its contents. The build-up, in other words, was worth one's effort.
Painting, by its nature, cannot provide an object of simultaneous collective reception... as film is able to do today... And while efforts have been made to present paintings to the masses in galleries and salons, this mode of reception gives the masses no means of organizing and regulating their response. Thus, the same public which reacts progressively to a slapstick comedy inevitably displays a backward attitude toward Surrealism.
I certainly believe we all suffer damage, one way or another. How could we not, except in a world of perfect parents, siblings, neighbours, companions? And then there is the question on which so much depends, of how we react to the damage: whether we admit it or repress it, and how this affects our dealings with others. Some admit the damage, and try to mitigate it; some spend their lives trying to help others who are damaged; and there are those whose main concern is to avoid further damage to themselves, at whatever cost. And those are the ones who are ruthless, and the ones to be careful of.