Seduction Quotes (displaying: 1 - 30 of 108 quotes )
In my experience, writers tend to be really good at the inside of their own heads and imaginary people, and a lot less good at the stuff going on outside, which means that quite often if you flirt with us we will completely fail to notice, leaving everybody involved slightly uncomfortable and more than slightly unlaid. So I would suggest that any attempted seduction of a writer would probably go a great deal easier for all parties if you sent them a cheerful note saying "YOU ARE INVITED TO A SEDUCTION: Please come to dinner on Friday Night, Wear the kind of clothes you would like to be seduced in."And alcohol may help, too. Or kissing. Many writers figure out that they're being seduced or flirted with if someone is actually kissing them.
In this unity there was happiness, but it is not far from happiness to suspicion, and the girl was full of suspicions. For instance, it occurred to her that other women (those who weren't anxious) were more attractive and more seductive, and that the young man, who did not conceal the fact that he knew this kind of woman well, would someday leave her for a woman like that. (True, the young man declared that he'd had enough of them to last his whole life, but she knew that he was still much younger than he thought.) She wanted him to be completely hers and herself to be completely his, but it often seemed to her that the more she tried to give him everything, the more she denied him something: the very thing that a light and superficial love or a flirtation gives a person.
Over the years, I have come to realize that the greatest trap in our life is not success, popularity, or power, but self-rejection. Success, popularity, and power can indeed present a great temptation, but their seductive quality often comes from the way they are part of the much larger temptation to self-rejection. When we have come to believe in the voices that call us worthless and unlovable, then success, popularity, and power are easily perceived as attractive solutions. The real trap, however, is self-rejection. As soon as someone accuses me or criticizes me, as soon as I am rejected, left alone, or abandoned, I find myself thinking, "Well, that proves once again that I am a nobody." ... [My dark side says,] I am no good... I deserve to be pushed aside, forgotten, rejected, and abandoned. Self-rejection is the greatest enemy of the spiritual life because it contradicts the sacred voice that calls us the "Beloved." Being the Beloved constitutes the core truth of our existence.
As Narrative (Novel, Passion), love is a story which is accomplished, in the sacred sense of the word: it is a program which must be completed. For me, on the contrary, this story has already taken place; for what is event is exclusively the delight of which I have been the object and whose aftereffects I repeat (and fail to achieve). Enamoration is a drama, if we restore to this word the archaic meaning Nietzsche gives it: "Ancient drama envisioned great declamatory scenes, which excluded action (action took place before or behind the stage)." Amorous seduction (a pure hypnotic moment) takes place before discourse and behind the proscenium of consciousness: the amorous "event" is of a hieratic order: it is my own local legend, my little sacred history that I declaim to myself, and this declamation of a fait accompli (frozen, embalmed, removed from any praxis) is the lover's discourse.
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.
If New Orleans is not fully in the mainstream of culture, neither is it fully in the mainstream of time. Lacking a well-defined present, it lives somewhere between its past and its future, as if uncertain whether to advance or to retreat. Perhaps it is its perpetual ambivalence that is its secret charm. Somewhere between Preservation Hall and the Superdome, between voodoo and cybernetics, New Orleans listens eagerly to the seductive promises of the future but keeps at least one foot firmly planted in its history, and in the end, conforms, like an artist, not to the world but to its own inner being--ever mindful of its personal style.
I remember asking John, after Dusklands, what new project he had on the go. His answer was vague. 'There is always something or the other I am working on', he said. 'If I yield to the seduction of not working, what would I do with myself? What would there be to live for? I would have to shoot myself.
Our institutions are too big; they represent not the best but the worst characteristics of human beings. By submitting to huge hierarchies of power, we gain freedom from personal responsibility for what we do and are forced to do - the seduction of it - but we lose the dignity of being real men and women. Power corrupts; attracts the worst and corrupts the best. ... Refuse to participate in evil; insist on taking part in what is healthy, generous, and responsible. Stand up, speak out, and when necessary fight back. Get down off the fence and lend a hand, grab a-hold, be a citizen - not a subject.
To the Kathakali Man these stories are his children and his childhood. He has grown up within them. They are the house he was raised in, the meadows he played in. They are his windows and his way of seeing. So when he tells a story, he handles it as he would a child of his own. He teases it. He punishes it. He sends it up like a bubble. He wrestles it to the ground and lets it go again. He laughs at it because he loves it. He can fly you across whole worlds in minutes, he can stop for hours to examine a wilting leaf. Or play with a sleeping monkey's tail. He can turn effortlessly from the carnage of war into the felicity of a woman washing her hair in a mountain stream. From the crafty ebullience of a rakshasa with a new idea into a gossipy Malayali with a scandal to spread. From the sensuousness of a woman with a baby at her breast into the seductive mischief of Krishna's smile. He can reveal the nugget of sorrow that happiness contains. The hidden fish of shame in a sea of glory.
We will live in this world, which for us has all the disquieting strangeness of the desert and of the simulacrum, with all the veracity of living phantoms, of wandering and simulating animals that capital, that the death of capital has made of us—because the desert of cities is equal to the desert of sand—the jungle of signs is equal to that of the forests—the vertigo of simulacra is equal to that of nature—only the vertiginous seduction of a dying system remains, in which work buries work, in which value buries value—leaving a virgin, sacred space without pathways, continuous as Bataille wished it, where only the wind lifts the sand, where only the wind watches over the sand.
Then I speak to her in a language she has never heard, I speak to her in Spanish, in the tongue of the long, crepuscular verses of Daz Casanueva; in that language in which Joaqun Edwards preaches nationalism. My discourse is profound; I speak with eloquence and seduction; my words, more than from me, issue from the warm nights, from the many solitary nights on the Red Sea, and when the tiny dancer puts her arm around my neck, I understand that she understands. Magnificent language!
I'm quickly approaching the moment of discovery: of myself by myself, which was something I knew all along and yet didn't know; and the discovery by poor half-blind Dr. Philobosian of what he'd failed to notice at my birth and continued to miss during every annual physical thereafter; and the discovery by my parents of what kind of child they'd given birth to (answer: the same child, only different); and finally, the discovery of the mutated gene that had lain buried in our bloodline for two hundred and fifty years, biding its time, waiting for Ataturk to attack, for Hajienestis to turn into glass, for a clarinet to play seductively out a back window, until, comint together with its recessive twin, it started the chain of events that led to me, here, writing in Berlin.
2. "HOW COULD anything originate out of its opposite? For example, truth out of error? or the Will to Truth out of the will to deception? or the generous deed out of selfishness? or the pure sun-bright vision of the wise man out of covetousness? Such genesis is impossible; whoever dreams of it is a fool, nay, worse than a fool; things of the highest value must have a different origin, an origin of THEIR own—in this transitory, seductive, illusory, paltry world, in this turmoil of delusion and cupidity, they cannot have their source. But rather in the lap of Being, in the intransitory, in the concealed God, in the 'Thing-in-itself— THERE must be their source, and nowhere else!"—
The commercial media … help citizens feel as if they are successful and have met these aspirations, even if they have not. They tend to neglect reality (they don't run stories about how life is hard, fame and fortune elusive, hopes disappointed) and instead celebrate idealized identities – those that, in a commodity culture, revolve around the acquisition of status, money, fame and power, or at least the illusion of these things. The media, in other words, assist the commercial culture in “need creation”, prompting consumers to want things they don't need or have never really considered wanting. And catering to these needs, largely implanted by advertisers and the corporate culture, is a very profitable business. A major part of the commercial media revolves around selling consumers images and techniques to “actualize” themselves, or offering seductive forms of escape through entertainment and spectacle. News is filtered into the mix, but actual news is not the predominant concern of the commercial media.