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She had no need in her heart for either book or magazine. She had her own way of escape, her own passage into contentment: her rosary. That string of white beads, the tiny links worn in a dozen places and held together by strands of white thread which in turn broke regularly, was, bead for bead, her quiet flight out of the world. Hail Mary, full of grace, the Lord is with thee. And Maria began to climb. Bead for bead, life and living fell away. Hail Mary, Hail Mary. Dream without sleep encompassed her. Passion without flesh lulled her. Love without death crooned the melody of belief. She was away: she was free; she was no longer Maria, American or Italian, poor or rich, with or without electric washing machines and vacuum cleaners; here was the land of all-possessing. Hail Mary, Hail Mary, over and over, a thousand and a hundred thousand times, prayer upon prayer, the sleep of the body, the escape of the mind, the death of memory, the slipping away of pain, the deep silent reverie of belief. Hail Mary and Hail Mary. It was for this that she lived. ↗
You felt, in spite of all bureaucracy and inefficiency and party strife something that was like the feeling you expected to have and did not have when you made your first communion. It was a feeling of consecration to a duty toward all of the oppressed of the world which would be as difficult and embarrasing to speak about as religious experience and yet it was as authentic as the feeling you had when you heard Bach, or stood in Chartres Cathedral or the Cathedral at León and saw the light coming through the great windows; or when you saw Mantegna and Greco and Brueghel in the Prado. It gave you a part in something that you could believe in wholly and completely and in which you felt an absolute brotherhood with the others who were engaged in it. It was something that you had never known before but that you had experienced now and you gave such importance to it and the reasons for it that you own death seemed of complete unimportance; only a thing to be avoided because it would interfere with the performance of your duty. But the best thing was that there was something you could do about this feeling and this necessity too. You could fight. ↗
But after living in Communist China for the past seventeen years, I knew that such a society was only a dream because those who seized power would invariably become the new ruling class. They would have the power to control the people’s lives and bend the people’s will. Because they controlled the production and distribution of goods and services in the name of the state, they would also enjoy material luxuries beyond the reach of the common people. In Communist China, details of the private lives of the leaders were guarded as state secrets. But every Chinese knew that the Party leaders lived in spacious mansions with many servants, obtained their provisions from special shops where luxury goods were made available to their household at nominal prices, and send their children in chauffeur-driven cars to exclusive schools to be taught by specially selected teachers. Even though every Chinese knew how these leaders lived, no one dared to talk about it. If we had to pass by a special shop for the military or high officials, we carefully looked the other way to avoid giving the impression we knew it was there. Pg. 90 ↗
#communist-china #corruption #cultural-revolution #maoism #death
...If you genuinely believe that only the death of a loved one can motivate a human being to take up a cause...then get your pathetic, cynical ass out of my way so I can do my job! ↗
For so many years, the official propaganda machinery had denounced humanitarianism as sentimental trash and advocated human relations based entirely on class allegiance. But my personal experience had shown me that most of the Chinese people remained kind, sensitive, and compassionate even though the cruel reality of the system under which they had to live compelled them to lie and pretend. Pg. 409 ↗
Death appears as the harsh victory of the law of our ancestors of the dimension of our becoming. It is a fact that, as productivity increases, each succeeding generation becomes smaller in stature. The defeat of our fathers is revisited upon us as the limits of our world. Yes, structure is human, it is the monumentalization of congealed sweat, sweat squeezed from old exploitation and represented as nature, the world we inhabit, the objective ground. We do not, in our insect-like comings and going, make the immediate world in which we live, we do not make a contribution, on the contrary we are set in motion by it; a generation will pass before what we have done, as an exploited class, will seep through as an effect of objectivity. (Our wealth is laid down in heaven.) The structure of the world has been built by the dead, they were paid in wages, and when the wages were spent and they were in the ground, what they had made continued to exist, these cities, roads and factories are their calcified bones. They had nothing but their wages to show for what they had done, who they were and what they did has been cancelled out. But what they made has continued into our present, their burial and decay is our present. This is the definition of class hatred. We are no closer now to rest, to freedom, to communism than they were, their sacrifice has brought us nothing, what they did counted for nothing, we have inherited nothing, but they did produce value, they did make the world in which we now live, the world that now oppresses us is constructed from the wealth they made, wealth that was taken from them as soon as they were paid a wage, taken and owned by someone else, owned and used to define the nature of class domination. We too must work, and the value we produce leaks away from us, from each only a trickle but in all a sea of it and that, for the next generation, will thicken into wealth for others to own and as a congealed structure it will be used to frame new enterprises in different directions. The violence of what they produced becomes the structure that dominates our existence. Our lives begin amidst the desecration of our ancestors, millions of people who went to their graves as failures, and forever denied experiences of a full human existence, their simply being canceled out; as our parents die, we can say truly that their lives were for nothing, that the black earth that is thrown down onto them blacks out our sky. ↗
The utilitarian behaves sensibly in all that is required for preservation but never takes account of the fact that he must die...His whole life is absorbed in avoiding death, which is inevitable, and therefore he might be thought to be the most irrational of men, if rationality has anything to do with understanding ends or comprehending the human situation as such. He gives way without reserve to his most powerful passion and the wishes it engenders. ↗
THE METAPHYSICAL POETS Had we but world enough, and time, This coyness, lady, were no crime (Andrew Marvell, To His Coy Mistress) While theatre was the most public literary form of the period, poetry tended to be more personal, more private. Indeed, it was often published for only a limited circle of readers. This was true of Shakespeare's sonnets, as we have seen, and even more so for the Metaphysical poets, whose works were published mostly after their deaths. John Donne and George Herbert are the most significant of these poets. The term 'Metaphysical' was used to describe their work by the eighteenth-century critic, Samuel Johnson. He intended the adjective to be pejorative. He attacked the poets' lack of feeling, their learning, and the surprising range of images and comparisons they used. Donne and Herbert were certainly very innovative poets, but the term 'Metaphysical' is only a label, which is now used to describe the modern impact of their writing. After three centuries of neglect and disdain, the Metaphysical poets have come to be very highly regarded and have been influential in recent British poetry and criticism. They used contemporary scientific discoveries and theories, the topical debates on humanism, faith, and eternity, colloquial speech-based rhythms, and innovative verse forms, to examine the relationship between the individual, his God, and the universe. Their 'conceits', metaphors and images, paradoxes and intellectual complexity make the poems a constant challenge to the reader. ↗
